The Study of Harmony: An Historical Perspective

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Wm. C. Brown, Jan 1, 1991 - Music - 366 pages
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Contents

Harmony between 1700 and 1750 BachHandelVivaldiTelemann l The Perfect Fifth Relationship in Major Keys
28
First Inversion Triads
42
SixFour Sonorities
51
Characteristic Dissonances
58
NonHarmonic Tones
75
The Minor Mode
95
Augmented Triads and the Neapolitan Sixth
110
The 98 Suspensions Applied to the DominantSeventh and LeadingTone Diminished Seventh Chords
115
Abridged Dominant Ninth Chords
244
Freedom from the Tonic
251
Harmony in Opera 1600 1900
255
Stable and Unstable Harmony in Arias and Scenes
258
The DownwardResolving LeadingTone in Italian Music
261
Impending Danger
264
Resolution of Conflict
268
Dramatic Climax
269

Secondary Triads
128
Secondary Triads in Major Keys
134
Secondary Triads in Minor Keys
141
DescendingFifth Sequences in Major and Minor Keys
147
Expansion of Tonal Space
154
Secondary Dominants and Secondary Subdominants in Minor
165
The Diminished Seventh Chord as a Secondary Dominant
169
Chords Borrowed from the Minor Mode
176
Harmony between 1770 and 1810 HaydnMozartBeethoven 1 Introduction
178
The FormGenerating Role of Harmonic Progressions
185
The LeadingTone Seventh Chord in Major
186
Modulation
187
Modulation to the Second Theme
189
Modulation within the Development Section
196
Altered Chords
200
The Harmony of Slow Introduction Sections
210
Harmony between 1800 and 1828 BeethovenSchubert 1 Triads Related by the Interval of a Third
215
LeadingTone Relationships
227
NoteforNote Transformation
229
Harmony between 1830 and 1860 Schumann 1 Introduction
233
NonFunctional DominantSeventh Chord Progressions
237
Thirds Added Below Triads and Seventh Chords
240
Dominant Ninth Chords
242
LargeForm Disposition of Tonality
274
Harmony between 1857 and 1882 Wagner 1 Introduction
278
Setting the Text to Music
281
Wagners Functionally Free FourTone Sonorities
283
The Tristan Chord
292
Expressive Suspension Figures in Wagners Late Works
296
A Model for Analysis of Passages in Wagners Late Works
298
Harmony between 1839 and 1885 Liszt 1 Introduction
307
Tonality as Reminiscence
309
The End of Tonal Harmony
313
Two Pathways to Atonahty
317
Harmony between 1900 and 1918 Debussy 1 Slendro and WholeTone Scales
321
Harmonic Texture in the Music of Debussy
324
Mixturelike Sonorities in the Music of Debussy
327
Harmony and Compositional Structure as a Unity of Invention
334
Selected Topics in Harmony after 1912
336
Sonority and Structure Webern
342
Classification of Harmony Hindemith
346
Sonority as Theme Messiaen
351
Discussion of Selected TwentiethCentury Sonorities
354
Table of Functional Symbols
361
Index
363
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