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|a 9781351571333
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|a 1351571338
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|b 000062390568
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|a (OCoLC)993781230
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|a (OCoLC)ocn993781230
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|a ML3811
|b .B87 2016
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4 |
|a 781.258
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| 100 |
1 |
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|a Burnett, Henry.
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| 245 |
1 |
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|a ""Composition, Chromaticism and the Developmental Process "" :
|b a New Theory of Tonality.
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| 260 |
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|a Florence :
|b Taylor and Francis,
|c 2007.
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| 300 |
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|a 1 online resource (431 pages)
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| 336 |
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|a text
|b txt
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
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| 500 |
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|a II. Robert Schumann: Piano Quintet in E♭ op. 44, First Movement.
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|a Cover; Half Title; Title; Copyright; Contents; List of Figures; List of Diagrams; List of Music Examples; Notes on Authors; Preface; Acknowledgments; Prologue: A Personal Reflection; 1 Introduction; I. Why is a New Theory of Tonality Necessary?; II. The Concept of Development and its Relationship to the Compositional Process; III. Postulates of the Theory; 2 Eleven-Pitch-Class Tonality; I.A New Theory of Symmetrical Divisions Underlying ""Key-Centered"" Tonality; II. Eleven-Pitch-Class Systems: Their Relevance and Application to Works in the Literature.
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|a 3 The Modal Gamut in the Sixteenth CenturyI. Introductory Remarks; II. Sixteenth- and Early Seventeenth-Century Approaches to Chromaticism and Eleven-Pitch-Class Modality; III. The Medieval Gamut and Three-Hexachord-System Modulation; IV. The Properties of the Central Hexachord as Harmonic Background; V. The Music of the Early Sixteenth Century and Three-Hexachord Gamut Systems; VI. Modulation of Gamut Three-Hexachord Systems in Chromatic Modality; 4 Tonality and Systems in the Seventeenth and Early Eighteenth Centuries.
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| 505 |
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|a I. Introduction: The Emergence of Key-Centered Tonality in the Instrumental Music of the Latter Half of the Seventeenth CenturyII. Biagio Marini: Unresolved Modal-Tonal Conflicts and the Possibilities they Pose for Development; III. Giovanni Legrenzi: Nascent Tonality; IV. An Incipient Historical Development: Tonal Structure and Early Ritornello Design in the Instrumental and Vocal Works of Alessandro Stradella; V. Alessandro Stradella: Tonality and the Emerging Concertino/Concerto Grosso Technique; VI. Corelli and the Advent of Common-Practice Tonality.
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| 505 |
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|a VII. Common-Practice Tonality and the Late Baroque Concerto: Torelli, Vivaldi, and J.S. Bach5 Tonality and Systems in the Mid- to Late-Eighteenth Century: The Classical Ideal; I. The Development of the Early Symphony: Vivaldi and the Ripieno Concerto, G.B. Sammartini; II. Viennese Symphonists of the Mid-Eighteenth Century: G.C. Wagenseil and G.M. Monn; III. Joseph Haydn and the Sonata Form: Definitions and Compositional Design Elements; IV. Joseph Haydn and the Developmental Process: Selected Compositions; V. Alternative Design Elements in Sonata-Form Movements: J.C. Bach and W.A. Mozart.
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|a 6 Nineteenth-Century Approaches to Eleven-Pitch-Class Systems Derived from the Viennese Classical TraditionI. Beethoven, Sonata Form, the Minor Mode, and Chromatic Development at the Beginning of the Nineteenth Century; II. Eleven-Pitch-Class Systems in the Music of Nineteenth-Century Romantic Composers: Mode Mixture and System Shifts as Pre-Compositional Determinants in Schubert's String Quintet in C major op. 163; 7 Eleven-Pitch-Class Systems in the Music of Mid-to Late-Nineteenth-Century Romantic Composers; I. Felix Mendelssohn: Piano Trio in D minor op. 49, First Movement.
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| 588 |
0 |
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|a Print version record.
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| 590 |
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|a ProQuest Ebook Central
|b Ebook Central Academic Complete
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| 650 |
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0 |
|a Tonality.
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| 650 |
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0 |
|a Chromaticism (Music)
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| 700 |
1 |
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|a Nitzberg, Roy.
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| 758 |
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|i has work:
|a Composition, chromaticism, and the developmental process (Text)
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