Foundations of modern harmony:
"Karel Janecek's Foundations of Modern Harmony, translated into English for the first time, presents a theory of chord quality in atonal context. First published in 1965, it stands out among music theoretical publications with its balanced approach that combines systematics and empirical s...
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| Weitere Verfasser: | , |
| Format: | Buch |
| Sprache: | English |
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Waterloo, ON
Wilfrid Laurier University Press
[2024]
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Karel Janecek's Foundations of Modern Harmony, translated into English for the first time, presents a theory of chord quality in atonal context. First published in 1965, it stands out among music theoretical publications with its balanced approach that combines systematics and empirical studies. Janecek's systematics could be described as set theory, where simultaneities and their features are explored instead of abstract pitch-class sets. The plenitude of possible chords in chromatic tonal space is classified in this work, long before that of Forte, using the concept of "orientation scheme", an equivalent to prime form. Systematic thoughts are checked from the point of view of compositional practice and cognitive processes. Chapters discussing different perceptions of dissonance depending on the voicing, or retention of heard sound in mind, explain many generally recognized rules for orchestration. The system characterizing chord qualities is complemented by a system of triadic combinations, illustrated by works of both Czech and Western composers (Roussel, Hindemith, Honneger). After building solid building blocks, Janecek develops his five-member dualist functional system that can be traced via Otakar Sín to Hugo Riemann. The top of the theory arch provides notions of harmonic coherence in atonal contexts, an exciting complement to those by Schoenberg and Hindemith."-- |
| Beschreibung: | Translation of: Základy moderní harmonie |
| Beschreibung: | 507 Seiten Illustrationen, Notenbeispiele 24,8 cm |
| ISBN: | 9781771124706 1771124709 |
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| 520 | 3 | |a "Karel Janecek's Foundations of Modern Harmony, translated into English for the first time, presents a theory of chord quality in atonal context. First published in 1965, it stands out among music theoretical publications with its balanced approach that combines systematics and empirical studies. Janecek's systematics could be described as set theory, where simultaneities and their features are explored instead of abstract pitch-class sets. The plenitude of possible chords in chromatic tonal space is classified in this work, long before that of Forte, using the concept of "orientation scheme", an equivalent to prime form. Systematic thoughts are checked from the point of view of compositional practice and cognitive processes. Chapters discussing different perceptions of dissonance depending on the voicing, or retention of heard sound in mind, explain many generally recognized rules for orchestration. The system characterizing chord qualities is complemented by a system of triadic combinations, illustrated by works of both Czech and Western composers (Roussel, Hindemith, Honneger). After building solid building blocks, Janecek develops his five-member dualist functional system that can be traced via Otakar Sín to Hugo Riemann. The top of the theory arch provides notions of harmonic coherence in atonal contexts, an exciting complement to those by Schoenberg and Hindemith."-- | |
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Datensatz im Suchindex
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Table of Contents Introduction. 15 Editors Preface .27 Preface. 29 Chapter I - The Harmonic Material of the Tempered Chromatic System §1 . The Tempered Chromatic System and its Notation. 39 §2 . Premises for the Investigation of Harmonic Material. 41 §3 . The Orientation Scheme of Chord-types. 43 §4 . The Harmonic Scheme of Chord-types.45 §5 . Inversion of a Chord-type. Symmetrical and Asymmetrical Chord-types. 46 §6 . Types of Two-note Chords. 48 §7 . Types of Three-note Chords. 48 §8 . Types of Four-note Chords. 51 §9 . Types of Five-note Chords. 53 §10 . The Negative of a Chord-type. 54 §11 . Types of Six-note Chords. 58 §12 . The Harmonic Possibilities of the Tempered Chromatic System.62 §
13. Types of Multi-note Chords . 63 §14 . Pitch-systems Contained in the Tempered Chromatic System. 64 §15 . Conclusions and Prospects. 67 Chapter II - Sonic Characteristics of the Harmonic Material §16 . Consonance and Dissonance.69 §17 . Dissonant Elements. 70 §18 . The Principle of Harmonic Inversion. 72 §19 . Dissonant Characteristics of Chords.74 §20 . Influence of Consonant Components. 76 7
KAREL JANECEK I Foundations of Modern Harmony §21 . Family Characteristics of Chords. 77 §22 . Increasing the Dissonant Characteristic. 80 §23 . Merging of Dissonant Characteristics.'. 83 §24 . Semitone Clash of Semitone and Tritone Elements.86 §25 . Summary. 89 Chapter Illa - Classification of the Harmonic Material §26 . The Concept of a Harmony in Classical Harmony.93 §27 . Transient Chords. 95 §28 . Incomplete Harmonies. 96 §29 . The Formation of New Harmonies. 97 §30 . The Concept of a Harmony in Modern Harmony. 98 §31 . The Concept of the Characteristic Maximum. 101 §32 . The Concept of the Characteristic Nucleus.102 §33 . Consonant Harmonies as Maxima with the Negative Dissonant Characteristic. 104 §34 . The Characteristic Maximum
6. 104 §35 . The Characteristic Maximum 2. 105 §36 . Characteristic Maxima 1 and 01. 107 §3 7. Characteristic Maxima 0,26, and 026 . 108 §38 . Characteristic Maxima 16 and 016. HO §39 . Characteristic Maxima 12 and 012. Ill §40 . Characteristic Maxima 126. 112 §41 . Characteristic Maxima 0126. 115 §42 . Characteristic Maxima 166 and 1266. 117 §43 . Characteristic Maxima 112 and 0112. 119 §44 . Characteristic Maxima 1126. 120 §45 . Characteristic Maxima 01126. 123 §46 . Characteristic Maxima 11266. 125 §47 . The Characteristic Maximum 011266 . 127 §48 . The System of Characteristic-types. 128 §49 . Connections between Chords with Different Dissonant Characteristics. 130 §50 .
Boundaries between Characteristic-types. 8 134
Table of Contents Chapter Illb - Triadic Combinations §51 . The System of Triadic Combinations. 137 §52 . True and Partial Combinations; Combination Categories.138 §53 . Basic Triads (Harmonies I). 139 §54 . Combination Harmonies II. . . . 141 §55 . Partial Combinations with Two Components. 146 §56 . Triadic Combinations III. 148 §57 . The Triadic Combinations IV. 150 §58 . Classification of Chords into Combination Categories. 152 §59 . Representation of Triadic Combinations. 153 §60 . The Significance of the Combination System. 155 Chapter IV - Disposition of Chords §61 . The Concept of Disposition. 157 §62 . The Form, Position, and Inner Disposition of a Chord; Pitch Doublings. 158 §63 . Evaluating the Sound of Dispositions. 159 §64 . Disposition of Basic Triads. 160 §65 . Evaluating the Sound of Inversions and their Dispositions. .163 §66
. Disposition of Consonant Components in Dissonant Chords. 164 §67 . Disposition of Dissonant Intervals. 165 §68 . Disposition of Triadic Combinations. . 169 §69 . Disposition of Harmonies II. 174 §70 . Disposition of Partial Combinations with Two Components; Doubled Pitches in Intervals 1. 179 §71 . Disposition of Triadic Combinations III. 183 §72 . Disposition of the Triadic Combination IV; Softening of Semitone Clashes of Intervals 1 through Disposition. 185 §73 . Disposition of Chords in a Harmonic Progression.191 §74 . Disposition of Chords and Compositional Practice. 194 Chapter V - Expression of Chords §75 . Real and Imaginary Pitches. 195 §76 . Appearance and Cancellation of an Imaginary Pitch. 196 §77 . The Counter-canceling Pitch. 198 §78 . The Dying Away of a Harmonic Imaginary Pitch. 199 9
KAREL JANECEK | Foundations of Modern Harmony §79 . Compositional Acceleration of the Dying Away of a Harmonic Imaginary Pitch. 201 §80 . Harmonic Significance of Imaginary Pitches. 202 §81 . Chords Expressed by Real Pitches. . . 204 §82 . Chords Expressed by Imaginary Pitches. 207 §83 . Composite Expression of Chords in a Single Voice. 208 §84 . Composite Expression of Chords in Polyphony. 211 §85 . Non-harmonic Tones in Chords of Composite Expression. 214 §86 . Time Boundaries between Chords of Composite Expression. 216 §87 . Tonal Imaginary Pitches. 221 §88 . Incomplete Expression of Harmonies. 224 Chapter Via - Harmonic Motion: Concepts and Principles §89 . Possibilities of Motion in Music. ;. 227 §90 . Possibilities of Harmonic Motion. 228 §91 . Links in a Chord Succession. 229 §92 . Partial Harmonic Motion. 231 §93 . Fundamental Harmonic Motion. 235 §94 . Intervals in Fundamental Harmonic Motion; Imaginary
Links. 236 §95 . Real Links in Fundamental Harmonic Motion. 238 §96 . Adjacent Partial and Fundamental Harmonic Motions . 241 §97 . Higher-ranked Harmonic Motion or Tonal Motion. 242 §98 . The Significance of Cadential Chord Successions. 244 §99 . The Principle of the Pure Tonic. 245 §100 . Application of the Principle of the Pure Tonic in the Tempered Chromatic System.247 §101 . Application of the Principle of the Pure Tonic in the Diatonic System. 249 §102 . The Principle of the Leading Tone. 250 Chapter VIb - Harmonic Motion: Functions and their Combinations §103 . The Functional Principle. 251 §104 . Establishing the Tonic. 252 §105 . Types of Representative Pre-tonic Harmonies. 253 §106 . Establishing Possible Representative Pre-tonic Harmonies. 254 §107 . The Classical Functional System of Three Members. 256 10
Table of Contents §108 . Sins Functional System of Five Members. 257 §109 . Stabilization of Relations between Harmonies of the Functional System; the Minor Dominant. 259 §110 . Consonant Combinations of Functions (Interfunctions).260 §111 . Dissonant Combinations of Functions. 264 §112 . Functional Ambiguity of Dissonant Combinations. 267 §113 . Evaluating Functional Components According to their Tonal Significance, Disposition, and Representation. 274 Chapter Vic - Harmonic Motion: Function in Harmonic Progression §114. Harmonic Motion between Functions. 277 §115 . The Functional Aspect of Chords in a Chord Succession. 281 §116 . Unitonal, Bitonal, and Polytonal Combinations. 284 §117 . Local Tonics and Applied Functions . 286 §118 . Alteration of Functions. 289 §119 . Modulation. 292 §120 . Loosening Tonally Functional Relations. 295 §121 .
Non-Functional (Atonal) Music.299 §122 . Compositional Order and General Compositional Styling. 305 §123 . Horizontal Thinking. Voice-leading. 309 Chapter VII - Problems §124 . The Concept of Modern Harmony. '. .315 §125 . Universal and Artistic Laws. 316 §126 . The Evolution of Compositional Technique. 317 §127 . The Natural Foundation of Music Theory.319 §128 . The Significance of Experience. 321 §129 . The Search for Law. 324 §130 . Static and Kinetic Conceptions of Harmony. 326 Chapter VIII - Compositional Practice §131 . Composition and Theory. 333 §132 . Modern Melody. 334 §133 . Practical Studies of Chord-types. 336 §134 . Practical Studies of Characteristic-types and Harmonies. 339
KAREL JANECEK | Foundations of Modern Harmony §135 . Styling Studies on a Given Harmonic Basis.342 §136 . Harmonizing a Melody. 345 §137 . Employing Textural Resources Economically. 349 §138 . Resolving Dissonant Chords.351 §139 . Seeking a Suitable Pre-tonic Combination. 355 §140 . Functional Chord Successions. 356 §141 . Functional Variations in a Chord Progression. . .359 §142 . Free Composition . 362 Chapter IX - Analytical Practice §143 . A Method of Harmonic Analysis. §144 . Examining and Evaluating Real Chordal Cross-sections; Seeking New Chord Formations. 369 370 §145 . Determining Chords from Real and Imaginary Pitches; Rhythmic and Metric Distribution of Chords in a Composition; Transient Chords. 371 §146 . Chordal and Harmonic Character of a Composition; Character of Dispositions . 374 §147 . Examining Transient Chords .377 §148 . Diatonic Passages; Chromatic Progressions. 381 §149 .
Determining the Compositional Order; Evaluating Melodic Lines. 383 §150 . The Study of Cadences and Cadential Passages. 385 §151 . Functional Chord Successions. 388 §152 . The Formation and Extinction of a Sense of the Tonic. 391 §153 . The Tonally Functional Plan of a Composition; Overall Functional Character. 394 Tables and Overviews I. Comprehensive Survey of Chord-types. .397 II. System of Characteristic-types. 410 III. Characteristic Maxima by Chord-class. 412 IV. Characteristic Nuclei by Chord-class. .414 V. Boundaries between Characteristic-types. 415 VI. Symbols and abbreviations. 12 418
Table of Contents Bibliography. 423 Sources of Examples from Contemporary Music. 427 Zusammenfassung . 429 Karel Janecek: Additional Notes to Some Phenomena of Harmonic and Tonal Thinking. 453 Vladimir Tichy: Order, System, Structure, Function and Mutual Interplay of Theory and Practice. 461 1. On Music Theory. 461 2. Karel Janecek - the Key Figure for Czech Music Theory. 467 3. The Path to Foundations of Modern Harmony. 473 4. Foundations of Modern Harmony General Overview and Characteristics of the Main Questions. 479 Conclusion. 497 References. 499 Subject Index. 503 Name
Index. 507 13 |
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| spelling | Janeček, Karel 1903-1974 Verfasser (DE-588)12497046X aut Základy moderní harmonie (1965) Foundations of modern harmony Karel Janeček ; translated from the Czech by Jana Skarecky ; edited by Anne Carothers Hall Waterloo, ON Wilfrid Laurier University Press [2024] 507 Seiten Illustrationen, Notenbeispiele 24,8 cm txt rdacontent n rdamedia nc rdacarrier Translation of: Základy moderní harmonie "Karel Janecek's Foundations of Modern Harmony, translated into English for the first time, presents a theory of chord quality in atonal context. First published in 1965, it stands out among music theoretical publications with its balanced approach that combines systematics and empirical studies. Janecek's systematics could be described as set theory, where simultaneities and their features are explored instead of abstract pitch-class sets. The plenitude of possible chords in chromatic tonal space is classified in this work, long before that of Forte, using the concept of "orientation scheme", an equivalent to prime form. Systematic thoughts are checked from the point of view of compositional practice and cognitive processes. Chapters discussing different perceptions of dissonance depending on the voicing, or retention of heard sound in mind, explain many generally recognized rules for orchestration. The system characterizing chord qualities is complemented by a system of triadic combinations, illustrated by works of both Czech and Western composers (Roussel, Hindemith, Honneger). After building solid building blocks, Janecek develops his five-member dualist functional system that can be traced via Otakar Sín to Hugo Riemann. The top of the theory arch provides notions of harmonic coherence in atonal contexts, an exciting complement to those by Schoenberg and Hindemith."-- Harmonielehre (DE-588)4129028-8 gnd rswk-swf Harmony Harmonie Harmonielehre (DE-588)4129028-8 s DE-604 Hall, Anne Carothers 1934- (DE-588)1336849312 edt Skarecky, Jana 1957- (DE-588)1145992064 trl Akademie Múzických Umění v Praze (DE-588)1047252-6 oth Online version Janeček, Karel Základy moderní harmonie. English Foundations of modern harmony Waterloo, Ontario : Wilfrid Laurier University Press, 2024 1771126353 9781771126359 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035103997&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Janeček, Karel 1903-1974 Foundations of modern harmony Harmonielehre (DE-588)4129028-8 gnd |
| subject_GND | (DE-588)4129028-8 |
| title | Foundations of modern harmony |
| title_alt | Základy moderní harmonie (1965) |
| title_auth | Foundations of modern harmony |
| title_exact_search | Foundations of modern harmony |
| title_full | Foundations of modern harmony Karel Janeček ; translated from the Czech by Jana Skarecky ; edited by Anne Carothers Hall |
| title_fullStr | Foundations of modern harmony Karel Janeček ; translated from the Czech by Jana Skarecky ; edited by Anne Carothers Hall |
| title_full_unstemmed | Foundations of modern harmony Karel Janeček ; translated from the Czech by Jana Skarecky ; edited by Anne Carothers Hall |
| title_short | Foundations of modern harmony |
| title_sort | foundations of modern harmony |
| topic | Harmonielehre (DE-588)4129028-8 gnd |
| topic_facet | Harmonielehre |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=035103997&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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