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Harmony (Schenker)
''Harmony'' (german: Harmonielehre, or "Theory of Harmony") is a book published in 1906 by Heinrich Schenker. It is the first installment of Schenker's three-volume treatise on music theory entitled ''New Musical Theories and Fantasies''; the others are ''Counterpoint'' and ''Free Composition''. Schenker's name did not appear on the original edition of the work – the author was listed simply as "an artist". ''Harmony'', which was Schenker's first major book-length theoretical writing, is notable for defining the theoretical agenda that Schenker was to carry out over the subsequent three decades. Schenker makes a careful distinction between the theories of ''harmony'' (which for Schenker is concerned with relations among scale-steps) and ''counterpoint'' (which deals only with voice leading); he argues that other theorists have confusingly mixed these two concepts. He introduces the principle of repetition, which gives rise to the concept of the motive. Schenker also strongly hints ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Schenker
Heinrich Schenker (19 June 1868 – 14 January 1935) was a Galician-born Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully explained in a three volume series entitled ''Neue musikalische Theorien und Phantasien'' (''New Musical Theories and Phantasies''), which included ''Harmony'' (1906), ''Counterpoint'' (1910; 1922) and ''Free Composition'' (1935). Born in Wiśniowczyk, Austrian Galicia, he studied law at University of Vienna and music at what is now the University of Music and Performing Arts Vienna where his teachers included Franz Krenn, Ernst Ludwig, Anton Bruckner and Johann Nepomuk Fuchs. Despite his law degree, he focused primarily on a musical career following graduation, finding minimal success as a composer, conductor and accompanist. From the 20th-century on, Schenker increasingly directed his efforts towards music theory, developing a systemic ap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory
Music theory is the study of the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory". The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. Because of the ever-expanding conception of what constitutes music, a more inclusive definition could be the consideration of any sonic phenomena, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint (Schenker)
''Counterpoint'' (''Kontrapunkt'' in the original German) is the second volume of Heinrich Schenker's ''New Musical Theories and Fantasies'' (the first is ''Harmony'' and the third is ''Free Composition''). It is divided into two "Books", the first published in 1910, and the second in 1922. The subject matter of the work is species counterpoint. Book I is concerned with the construction of the cantus firmus and the rules of counterpoint in two voices, also referred to as "strict counterpoint"; Book II treats the cases of three- and four-voice counterpoint. Schenker thus follows the model of Fux in presenting all of the species in turn before adding additional voices. The Principles The principles of strict counterpoint constitute one of the fundamental components of Schenker's musical theory (see Schenkerian analysis). For Schenker, the study of counterpoint is the study of voice leading; in particular, contrapuntal theory is separate from and independent of harmonic theory, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Free Composition
''Free Composition'' (''Der freie Satz'') is a treatise by Heinrich Schenker, and possibly Schenker's best known work. The third volume of ''New Musical Theories and Fantasies'' (preceded by ''Harmony'' and ''Counterpoint''), it was first published posthumously by Universal Edition in Vienna in 1935. A second German edition by Oswald Jonas appeared in Vienna in 1956. The American translation by Ernst Oster was published by Longman, New York and London, in 1979. ''Free Composition'' is often believed to present a complete and systematic outline of Schenker's mature theory, but it relies heavily on his previous writings, especially ''Der Tonwille'' (English translation, OUP, 2004) and ''Das Meisterwerk in der Musik'' (''The Masterwork in Music'', English translation, OUP, 1997) and cannot be fully appreciated without some knowledge of these publications. The word ''Satz'' does not easily translate in English. "Free composition" apparently implies that there may exist a "strict com ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale-step
In Schenkerian theory, a scale-step (german: Stufe) is a triad (based on one of the diatonic scale degrees) that is perceived as an organizing force for a passage of music (in accordance with the principle of composing-out). In ''Harmony'', Schenker gives the following example and asserts that A scale-step triad is designated by an uppercase Roman numeral representing the scale degree of the root, much as in traditional "harmonic analysis" (see chord progression). Thus, in the above example (which is in G major), the G major triad that Schenker claims we perceive through the first two measures would be labelled "I". However, unlike traditional harmonic analyses, Schenker's theory is not concerned with the mere labelling of such chords, but rather with discerning hierarchical relationships among tones. For Schenker, the chords occurring in a passage need not be of equal import. As he explains: Furthermore, in terms of Schenker's mature theory, the question of whether a giv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Leading
Voice leading (or part writing) is the linear progression of individual melodic lines ( voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. In ''Jazz Theory'', Gabriel Sakuma writes that " the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music."Terefenko, Dariusz (2014). ''Jazz Theory: From Basic to Advanced Study'', p. 33. Routledge. . Marc Schonbrun also states that while it is untrue that "popular music has no voice leading in it, ..the largest amount of popular music is simply conceived with chords as blocks of information, and melodies are layered on top of the chords."Schonbrun, Marc (2011). ''The Everything Music Theory Book'', pp. 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Principle Of Repetition
A principle is a proposition or value that is a guide for behavior or evaluation. In law, it is a rule that has to be or usually is to be followed. It can be desirably followed, or it can be an inevitable consequence of something, such as the laws observed in nature or the way that a system is constructed. The principles of such a system are understood by its users as the essential characteristics of the system, or reflecting system's designed purpose, and the effective operation or use of which would be impossible if any one of the principles was to be ignored. A system may be explicitly based on and implemented from a document of principles as was done in IBM's 360/370 ''Principles of Operation''. Examples of principles are, entropy in a number of fields, least action in physics, those in descriptive comprehensive and fundamental law: doctrines or assumptions forming normative rules of conduct, separation of church and state in statecraft, the central dogma of molecular biology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motif (music)
In music, a motif IPA: ( /moʊˈtiːf/) (also motive) is a short musical phrase, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "The motive is the smallest structural unit possessing thematic identity". The ''Encyclopédie de la Pléiade'' regards it as a "melodic, rhythmic, or harmonic cell", whereas the 1958 ''Encyclopédie Fasquelle'' maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject. It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity". Grove and Larousse also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term 'fig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice. In some musical contexts, a performance or composition may be to some extent improvised. For instance, in Hindustani classical music, the performer plays spontaneously while following a partially defined structure and using characteristic motifs. In modal jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nature
Nature, in the broadest sense, is the physics, physical world or universe. "Nature" can refer to the phenomenon, phenomena of the physical world, and also to life in general. The study of nature is a large, if not the only, part of science. Although humans are part of nature, human activity is often understood as a separate category from other natural phenomena. The word ''nature'' is borrowed from the Old French ''nature'' and is derived from the Latin word ''natura'', or "essential qualities, innate disposition", and in ancient times, literally meant "birth". In ancient philosophy, ''natura'' is mostly used as the Latin translation of the Greek word ''physis'' (φύσις), which originally related to the intrinsic characteristics of plants, animals, and other features of the world to develop of their own accord. The concept of nature as a whole, the physical universe, is one of several expansions of the original notion; it began with certain core applications of the word ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Europe
Europe is a large peninsula conventionally considered a continent in its own right because of its great physical size and the weight of its history and traditions. Europe is also considered a Continent#Subcontinents, subcontinent of Eurasia and it is located entirely in the Northern Hemisphere and mostly in the Eastern Hemisphere. Comprising the westernmost peninsulas of Eurasia, it shares the continental landmass of Afro-Eurasia with both Africa and Asia. It is bordered by the Arctic Ocean to the north, the Atlantic Ocean to the west, the Mediterranean Sea to the south and Asia to the east. Europe is commonly considered to be Boundaries between the continents of Earth#Asia and Europe, separated from Asia by the drainage divide, watershed of the Ural Mountains, the Ural (river), Ural River, the Caspian Sea, the Greater Caucasus, the Black Sea and the waterways of the Turkish Straits. "Europe" (pp. 68–69); "Asia" (pp. 90–91): "A commonly accepted division between Asia and E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elisabeth Mann-Borgese
Elisabeth Veronika Mann Borgese, (24 April 1918 – 8 February 2002) was an internationally recognized expert on maritime law and policy and the protection of Environment (biophysical), the environment. Called "the mother of the oceans", she has received the Order of Canada and awards from the governments of Austria, China, Colombia, Germany, the United Nations and the World Conservation Union. Elisabeth was a child of Nobel Prize in Literature, Nobel Prize–winning German author Thomas Mann and his wife Katia Mann. Born in Germany, Elisabeth experienced displacement due to the rise of the Nazi Party and became a citizen first of Czechoslovakia, then of the United States, and finally of Canada. Elisabeth Mann Borgese worked as a senior fellow at the Center for the Study of Democratic Institutions in Santa Barbara, California and as a university professor at Dalhousie University in Halifax, Nova Scotia, Canada. She became a proponent of international cooperation and world ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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