Music Theory and Natural Order from the Renaissance to the Early Twentieth Century

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Suzannah Clark, Alexander Rehding
Cambridge University Press, 2001 - Music - 243 pages
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Music theory of almost all ages has relied on nature in its attempts to explain music. The understanding of what nature is, however, is subject to cultural and historical differences. In exploring ways in which music theory has represented and employed natural order since the scientific revolution, this volume asks some fundamental questions not only about nature in music theory, but also the nature of music theory. In an array of different approaches, ranging from physical acoustics to theology and Lacanian psychoanalysis, these essays examine how the multifarious conceptions of nature, located variously between scientific reason and divine power, are brought to bear on music theory. They probe the changing representations and functions of nature in the service of music theory and highlight the ever-changing configurations of nature and music, as mediated by the music-theoretical discourse. There are contributions by Daniel Chua, Linda Phyllis Austern, David Cohen, Leslie David Blasius, Scott Burnham, Alexander Rehding, Suzannah Clark, Ian Biddle, Peter A. Hoyt.
  

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Contents

I
1
II
15
III
17
IV
30
V
68
VI
93
VII
109
VIII
111
IX
142
X
161
XI
181
XII
183
XIII
197
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About the author (2001)

Suzannah Clark is Gardner Cowles Associate Professor of Music at Harvard University. In addition to her work on Schubert, her research interests range from medieval French motets to the history of music theory from Rameau to Schenker. She is the co-editor of Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, with Elizabeth Eva Leach, and Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, with Alexander Rehding.

Alexander Rehding is Cotsen Fellow at the Princeton Society of Fellows. He is co-editor of Music Theory and Natural Order from the Renaissance to the Early Twentieth Century (Cambridge University Press 2001). He was awarded the Jerome Roche Prize of the Royal Musical Society in 2001.

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