Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

MUSICAL LOGIC. A CONTRIBUTION TO THE THEORY OF MUSIC.

MUSICAL LOGIC. A CONTRIBUTION TO THE THEORY OF MUSIC. [4] The following articles will attempt to fill this gap.4 [5] At the same time, in consideration of the ever-expanding freedom of modern harmonic practice and the budding view that any chord can follow any other, my purpose is to demonstrate that a definite limit does exist for this kind of arbitrariness.5 This limit is to be sought in nothing other than the logical meaning of the various degrees of the scale. [6] We shall see how the freest and most complex of harmonic and metric formations evolve from the simplest principle of thesis, antithesis, and synthesis, corresponding to the Hauptmannian octave-, fifth-, and third-concept. [7] We shall likewise discern variety in the expressive use of these principles—an entirely varied periodic structure, for example, in the music of Mozart and Beethoven or Schumann and Mendelssohn. We shall also decipher Wagner’s peculiar forms with reference to these same principles. [8] With this view toward a creative life of the greatest formal abundance, we now set foot upon the difficult and somewhat barren path of theory.6 I. Harmonic Logic.7 [9] 1. Cadence. M. Hauptmann would have it that the satisfaction given by the cadence C-F-G-C is due to the key’s http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

MUSICAL LOGIC. A CONTRIBUTION TO THE THEORY OF MUSIC.

Journal of Music Theory , Volume 44 (1) – Jan 1, 2000

Loading next page...
 
/lp/duke-university-press/musical-logic-a-contribution-to-the-theory-of-music-p52ufKA1mj

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Duke University Press
Copyright
Copyright 2000 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-44-1-100
Publisher site
See Article on Publisher Site

Abstract

[4] The following articles will attempt to fill this gap.4 [5] At the same time, in consideration of the ever-expanding freedom of modern harmonic practice and the budding view that any chord can follow any other, my purpose is to demonstrate that a definite limit does exist for this kind of arbitrariness.5 This limit is to be sought in nothing other than the logical meaning of the various degrees of the scale. [6] We shall see how the freest and most complex of harmonic and metric formations evolve from the simplest principle of thesis, antithesis, and synthesis, corresponding to the Hauptmannian octave-, fifth-, and third-concept. [7] We shall likewise discern variety in the expressive use of these principles—an entirely varied periodic structure, for example, in the music of Mozart and Beethoven or Schumann and Mendelssohn. We shall also decipher Wagner’s peculiar forms with reference to these same principles. [8] With this view toward a creative life of the greatest formal abundance, we now set foot upon the difficult and somewhat barren path of theory.6 I. Harmonic Logic.7 [9] 1. Cadence. M. Hauptmann would have it that the satisfaction given by the cadence C-F-G-C is due to the key’s

Journal

Journal of Music TheoryDuke University Press

Published: Jan 1, 2000

There are no references for this article.