> Libros > Formación > Análisis y composición > Análisis musical
Structural Hearing: Tonal Coherence in Music. 9780486222752

Structural Hearing: Tonal Coherence in Music

Dover Publications. 1982

Ficha técnica

  • EAN: 9780486222752
  • ISBN: 978-0-486-22275-2
  • Editorial: Dover Publications
  • Fecha de edición: 1982
  • Encuadernación: Rústica
  • Dimensiones: 13,5x21,5
  • Idioma: Inglés
  • Nº páginas: XX+XVI+632

Disponible en breve

Sin stock. Si se pide hoy, se estima recibir en la librería el 03/06/24


PVP. 45,50€

Añadir a la Lista de deseos

Written by a pupil of the late Heinrich Schenker, this outstanding work is the most thorough exposition in English of SchenkerŽs work. Developing and extending the Schenker approach to include modern music, it explores the phenomenon of tonal organization in Western music by means of a detailed analysis and discussion of more than 500 musical examples ranging in time from the Middle Ages to such moderns as Bartók, Hindemith, Prokofieff, and Stravinsky.
Heinrich SchenkerŽs great contribution was the discovery of fundamental principles of tonal organization, continuity, and coherence. In theory he was the first to define these organic forces of the musical language, particulary the tonal functions and relationships which form both the generative and cohesive forces of great music.
Dr. Salzer, in expanding and formulating anew many of SchenkerŽs ideas, has embarked upon a systematic approach. Using the concept of chord functions as a basis, he differentiates sharply between chord grammar (or labelling) and significance, showing that function rather than the ordinary label is really significant. Further distinctions between chords of structure and chords of prolongation, harmonic and contrapuntual uses, and the concept of musical direction provide effective tools for the analysis of music.
This set, which is a standard work used in all important music schools, starts with basic definitions and simple examples, and trains the reader not only to hear successions of tones, melodic lines, and progressions of chords, but also to understand their structural coherence and significance. It is invaluable for musicians and all who are seriously interested in music, whether as a student, critic, performer, o conductor.


Foreword by Leopold Mannes

- Chord grammar- Chord significance
- Music as directed motion- Structure and prolongation
- Harmony and counterpoint
- Chord prolongation
- Tonality
- The implications of structure and prolongation

II. The pedagogic and Systematic Approach to Structural Herarin
1. The Scope of Elementary Theory
2. Musical Direction as an Organizing Force
- Problems of musical continuity and synthesis
- Musical direction-Structure and prolongation
- Chord grammar- Chord significance
- Melody- melodic direction and coherence
- Relative significance of melodic structure and
- Interdependence of melody and chord significance
- The functions of harmony and counterpoint

III. The Contrapuntual Concept
- Introduction
- Two-part counterpoint
- Three-part counterpoint
- Summary

IV. The Harmonic Concept
- Contrast to contrapuntual concept
- The fundamental harmonic progression and its elaborations
- Exercises
- Harmonic progressions in minor keys and the influence of
- Intensification of the V by a preceding 6/4 chord
- The use of two harmonic progressions in sucession
- Harmonic progressions supporting melodic embellishments
- Summary and outlook

V. Structure and Prolongation I
- Contrapunctual chords of progressions within the
harmonic framework
- Passing chords- Voice-leading chords
-- Passing chords
-- Passing chords improving voice leading
-- Voice-leading chords
-- Summary and outlook
- The chord of melodic emphasis or color chord
- The neighbor-note chord
- Chord prolongation summary
- Application of chord prolongation
- Structure and prolongation
- Four-part setting of short melodic phrases
- Melodic-contrapuntual prolongations
- Elementary instrumental figuration
- Motion into and out of the inner voice
- Superposition of inner voice
- Transfer of register
- Prolonged counterpoint
- Continued use of pure contrapuntual techiques
- Recognition of voice leading
- Voice-leading graphs as the systematic expression of structure and prolongation
- Exercises in prolongation-Structural ear training
- The technique of interruption

IV. Structure and Prolongation II
- Harmonic prolongations
- Harmonic prolongation of the tonic
-- Complete harmonic progression as prolongation of the
-- Incomplete harmonic progression as prolongation of the
-- Dominant prolongation of the tonic (the prolonging V)
-- Dominant prolongation and incomplete harmonic
progression preceding the structural tonic
- Harmonic prolongations of other harmonic chords
-- The applied dominant chord
-- An incomplete harmonic progression as prolongation of a
harmonic chord
-- A complete harmonic progression as prolongation of a
harmonic chord
- Harmonic prolongation of a contrapuntual chord
- The chord of harmonic emphasis
- Contrapuntual chords assuming structural significance
- Double function of chords
- Harmonic-structural chords with added prolonging
- Harmonic-prolonging chords with added structural
- Harmonic-prolonging chords with contrapuntual
-- The chord of harmonic emphasis as voice-leading chord
-- Descending fifths in sequence
-- Ascending fifths
-- Applied dominants as passing chords (Transition to
-- Applied dominants as voice-leading chords
-- Elimination of the harmonic element
- Additional versions to four-part settings
- Chromaticism
- The diminished seventh chord, the dominant seventh
chord, the sixth and 6/4 chord in the service of
- Contrapuntual texture in chormatic passages
- Altered chords
- Mixture
- The neapolitan sixth of the phrygian II
- Various uses of mixture
- The role of the submediant
- Expansion of units- The relation of structure and
prolongation in larger units

VII. Structure and Prolongation III
- Problems of structural orientation
- Developments in prolongation of counterpoint and melody
- Prolonged counterpoint
-- "Independent" voice leading
-- Color chords
-- "Harmonic" counterpoint
-- Octaves and fifths
- Transfer of register through sequential superposition of
inner voice
- Setting a postponed first structural melody tone with a
non-tonic chord
- Possibilities within passing motions
- The significance of melodic analysis
- Completely contrapuntual structure
- Procedures of structural hearing
- Preparation for large dimensional hearing and plannig
- Extended neighbor-note and passing motions
- The development section of sonata form
- Exercises in large dimensional planning
- Two prolongations of exceptional expansion

VIII. The Concept of Tonality
- The complete composition - Its tonal and formal organization
- Introduction
- Compositions based on harmonic structure and on
combined harmonic and contrapuntual structure
- Compositions based on contrapuntual structure
- Form and structure
-- Outer form, inner form and desing
-- Relation of outer form to structure. Structure-form-
Prolongation- form
- Significance and range of tonality
- Various types of form and their use in composition
- One-part or through-composed form
- Two-part structure-form
-- Repetition of structure
-- Division of structure
-- Interruption
- Two-part prolongation-form
-- The main prolongation as a form section
-- Segment of main prolongation as a form section
- Three-part forms
-- Three-part structure-form (originating in interruption)
-- Three-part prolongation-form (originating in interruption)
-- Genuine three-part prolongation-form
-- Three-part prolongation-form (contrapuntual structure)
- Individual forms and the fantasy


Part III
- Implications and consequences of structural hearing
- Problematic compositions
2. The Historical Development of Tonal Coherence

Conclusión. The Language of Western Music

Otros libros del mismo autor

Otros productos recomendados