"A leading music psychologist and theorist explains how Major-Minor Tonality came to assume its dominant place within music composition"--Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Terms and Abbreviations vii Preface ix Acknowledgments xix I Interdisciplinary Introduction 1 Definitions 3 2 Approaches 27 3 Rudiments 51 II Extramusical Foundations 4 Metaphysics 65 5 Auditory Scene Analysis 91 6 Auditory Sensitivity 101 III Musical Foundations 7 Matthew Shirlaw 115 8 Hugo Riemann 125 9 Diverse Epistemologies 137 10 Scales and Intervals 151 11 Chant and the Leading Tone 175 12 Accidentals and Enharmonics 189 IV Perception of Sonority 13 Pitch 201 14 Consonance and Dissonance 227 15 The Root of a Chord 251 16 Spectral Pitch in Chords 273 17 Jazz Harmony 283 V Perception of Progression 18 Pitch Commonality 295 19 Tonality 305 20 Progression and Modulation 317 21 Structural Cognition 341 VI The Big Picture 22 Theoretical Evaluation 353 23 Universals and Diversity 363 References 377 Index 425
Terms and Abbreviations vii Preface ix Acknowledgments xix I Interdisciplinary Introduction 1 Definitions 3 2 Approaches 27 3 Rudiments 51 II Extramusical Foundations 4 Metaphysics 65 5 Auditory Scene Analysis 91 6 Auditory Sensitivity 101 III Musical Foundations 7 Matthew Shirlaw 115 8 Hugo Riemann 125 9 Diverse Epistemologies 137 10 Scales and Intervals 151 11 Chant and the Leading Tone 175 12 Accidentals and Enharmonics 189 IV Perception of Sonority 13 Pitch 201 14 Consonance and Dissonance 227 15 The Root of a Chord 251 16 Spectral Pitch in Chords 273 17 Jazz Harmony 283 V Perception of Progression 18 Pitch Commonality 295 19 Tonality 305 20 Progression and Modulation 317 21 Structural Cognition 341 VI The Big Picture 22 Theoretical Evaluation 353 23 Universals and Diversity 363 References 377 Index 425
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