This book traces the formation of the discipline of harmony at the Paris Conservatory, focusing on the seminal work of Charles-Simon Catel, and outlines the processes that would determine the content and scope of the discipline for much of the nineteenth century.
This book traces the formation of the discipline of harmony at the Paris Conservatory, focusing on the seminal work of Charles-Simon Catel, and outlines the processes that would determine the content and scope of the discipline for much of the nineteenth century.
Michael J. Masci is associate professor of Music Theory at SUNY Geneseo, where he teaches courses in harmony, music analysis, and the aesthetics of modernism.
Inhaltsangabe
Contents Note on Figured-Bass Symbols Acknowledgments Introduction: Harmony as Discipline I. Institutional Power and Disciplinary Pretexts Chapter 1. The Institutional Authorization of Catel's Harmonic Theory and the Reconciliation of Fundamental Bass Theory with Figured Bass Practice Chapter 2. The Institutional Sources of Catel's (Contested) Authority II. The Cours d'Harmonie as Coordination of Disciplinary Technologies Chapter 3. Disciplinary Networks: Sources and Structures of the Cours d'Harmonie Chapter 4. Reconstructing the Theory, Pedagogy, and Method of the Early Cours d'Harmonie Chapter 5. Harmony's Boundaries and the Internalization of Disciplinary Norms III. The Transmission and Midcentury Revision of Disciplinary (and Generic) Structures Chapter 6. Tonalité, Modulation, and Alteration: Catel Reception at Midcentury Chapter 7. Tonal Redaction as Generic Convention in the Traité Complet Théorique et Pratique Conclusion Appendix A. Common Marches Appendix B. Common Broderies Appendix C. Common Cadences Bibliography About the Author
Contents Note on Figured-Bass Symbols Acknowledgments Introduction: Harmony as Discipline I. Institutional Power and Disciplinary Pretexts Chapter 1. The Institutional Authorization of Catel's Harmonic Theory and the Reconciliation of Fundamental Bass Theory with Figured Bass Practice Chapter 2. The Institutional Sources of Catel's (Contested) Authority II. The Cours d'Harmonie as Coordination of Disciplinary Technologies Chapter 3. Disciplinary Networks: Sources and Structures of the Cours d'Harmonie Chapter 4. Reconstructing the Theory, Pedagogy, and Method of the Early Cours d'Harmonie Chapter 5. Harmony's Boundaries and the Internalization of Disciplinary Norms III. The Transmission and Midcentury Revision of Disciplinary (and Generic) Structures Chapter 6. Tonalité, Modulation, and Alteration: Catel Reception at Midcentury Chapter 7. Tonal Redaction as Generic Convention in the Traité Complet Théorique et Pratique Conclusion Appendix A. Common Marches Appendix B. Common Broderies Appendix C. Common Cadences Bibliography About the Author
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![Music of the Ephrata Cloister: Also Conrad Beissel's Treatise on Music as Set Forth in a Preface to the "e;Turtel Taube"e; of 1747 ..](https://bilder.buecher.de/produkte/68/68644/68644853m.jpg "Music of the Ephrata Cloister: Also Conrad Beissel's Treatise on Music as Set Forth in a Preface to the "e;Turtel Taube"e; of 1747 ..")
