Descripciones mejoradas de Syndetics:

Most listeners prefer tonal music to atonal music, but what exactly is the difference between them? In this groundbreaking work, author Dmitri Tymoczko identifies five basic musical features that jointly contribute to the sense of tonality, and shows how these features recur throughout the history of Western music. Tymoczko creates for the reader a new framework for thinking about music, one that emphasizes the commonalities among styles from Medieval polyphony to contemporary jazz. A Geometry of Music provides an accessible introduction to Tymoczko's revolutionary geometrical approach to music theory. The book shows how to construct simple diagrams representing the relationships among familiar chords and scales. This gives readers the tools to translate between the musical and visual realms, revealing surprising degrees of structure in otherwise hard-to-understand pieces. Tymoczko uses these theoretical ideas to retell the history of Western music from the eleventh century to the present day. Arguing that traditional histories focus too narrowly on the "common practice" period from 1680-1850, he proposes instead that Western music comprises an extended common practice stretching from the late middle ages to the present. Using analysis to make his argument clear, he discusses a host of familiar pieces by Bach, Mozart, Chopin, Debussy, Stravinsky, Shostakovich, Miles Davis, Bill Evans, and others.A Geometry of Music is accessible to a range of readers, from undergraduate music majors to scientists and mathematicians with an interest in music. Defining its terms along the way, it presupposes no special mathematical background and only a basic familiarity with Western music theory. The book also contains exercises designed to reinforce and extend readers' understanding, along with a series of appendices that explore the technical details of this exciting new theory.

Reseñas proporcionadas por Syndetics

CHOICE Review

Formalizing a theory of tonality, Tymoczko (Princeton) seeks to illuminate connections between the extended tonality in music of the late 19th century and 20th century--music of Wagner, Grieg, Debussy, Ravel, Stravinsky, Shostakovich, et al., along with jazz and popular musicians like Miles Davis, Bill Evans, and the Beatles--and the more traditionally tonal music of the 18th and 19th centuries. The author identifies five features contributing to a sense of tonality and builds an argument around four central claims involving these features: (1) harmony and counterpoint constrain one another; (2) scale, macroharmony, and centricity are independent; (3) modulation involves voice leading; and (4) music can be understood geometrically. Tymoczko frontloads the book with detailed theoretical discussion before turning, in the second half, to analytical application of these theories to specific pieces and composers. Throughout, he writes clearly: he speaks to an audience of music theorists yet articulates his ideas with lay readers and undergraduate music students in mind. This important contribution to the field of music theory provides a fresh lens through which to view a large body of music. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. T. E. Buehrer Kenyon College

Notas de autor provistas por Syndetics

Dmitri Tymoczko is a composer and music theorist who teaches at Princeton University. His 2006 article "The Geometry of Musical Chords" was the first music theory article published in the 127-year history of Science magazine, and was widely covered in the popular press. His music has been performed by ensembles throughout the country, and he has received a Rhodes scholarship, a Guggenheim fellowship, and numerous other awards.