Materials and Techniques of Twentieth-Century Music

by Kostka, Stefan

• ISBN13: 9780131930803
• ISBN10: 013193080X
• Edition: 3rd
• Format: Hardcover
• Copyright: 2006-01-01
• Publisher: Prentice Hall

Summary

KEY BENEFIT: This book provides the most comprehensive analytical approach to 20th-Century Music available from Impressionism to recent trends.It covers music from the early 1900s through such movements as Minimalism and the Neoromanticism of the 1990's, and includes chapters on rhythm, form, electronic and computer music, and the roles of chance and choice in Twentieth-Century music.For individuals interested in music theory and harmony; and an analysis and history of 20th-century music.

Table of Contents

Preface	xv
The Twilight of the Tonal System	1	(21)
Introduction	1	(1)
Diatonic Tonal Music	1	(1)
Chromatic Tonal Music	2	(1)
Chromatic Harmony	3	(8)
Chromaticism and Musical Form	11	(2)
Suspended Tonality and Atonality	13	(9)
Summary	14	(1)
Notes	14	(1)
Exercises	15	(7)
Scale Formations in Twentieth-Century Music	22	(24)
Introduction	22	(1)
Five-Note Scales	23	(1)
Six-Note Scales	24	(3)
Seven-Note Scales: The Diatonic Modes	27	(3)
Other Seven-Note Scales	30	(1)
Eight-Note Scales	31	(3)
The Chromatic Scale	34	(1)
Microtonal Scales	34	(2)
Other Possibilities	36	(10)
Summary	37	(1)
Notes	37	(1)
Exercises	38	(8)
The Vertical Dimension: Chords and Simultaneities	46	(28)
Introduction	46	(1)
Conventional Tertian Sonorities	47	(2)
Tertian Chords with Added Notes	49	(3)
Tertian Chords with Split Chord Members	52	(2)
Open-5th Chords	54	(1)
Quartal and Quintal Chords	55	(4)
Secundal Chords	59	(3)
Mixed-Interval Chords	62	(1)
Whole-Tone Chords	63	(1)
Polychords	64	(10)
Summary	66	(1)
Notes	67	(1)
Exercises	67	(7)
The Horizontal Dimension: Melody and Voice Leading	74	(24)
Introduction	74	(1)
Tonal Melody	74	(2)
Some New Stylistic Features of Twentieth-Century Melody	76	(5)
Some Aspects of Melodic Organization	81	(2)
Voice Leading in Twentieth-Century Music	83	(15)
Summary	92	(1)
Notes	92	(1)
Exercises	93	(5)
Harmonic Progression and Tonality	98	(16)
Introduction	98	(1)
Traditional Approaches to Harmonic Progression	98	(1)
New Approaches to Harmonic Progression	99	(2)
Nonharmonic Music	101	(1)
Establishing a Tonal Center	102	(1)
Tertian and Nontertian Pitch-Centricity	103	(2)
Polytonality	105	(3)
Atonality	108	(1)
Pandiatonicism	108	(6)
Summary	109	(1)
Notes	110	(1)
Exercises	110	(4)
Developments in Rhythm	114	(26)
Introduction	114	(1)
Syncopation	115	(1)
Written Rhythm and Perceived Rhythm	116	(1)
Changing Time Signatures	117	(1)
Nontraditional Time Signatures	118	(2)
Polymeter	120	(4)
Ametric Music	124	(4)
Added Values and Nonretrogradable Rhythms	128	(2)
Tempo Modulation and Polytempo	130	(3)
Serialized Rhythm and Isorhythm	133	(7)
Summary	135	(1)
Notes	136	(1)
Exercises	136	(4)
Form in Twentieth-Century Music	140	(17)
Introduction	140	(1)
Binary Form	141	(1)
Ternary Form	141	(4)
Rondo Forms	145	(1)
Other Part Forms	146	(1)
Sonata Form	147	(2)
Sectional Variations	149	(1)
Continuous Variations	149	(1)
Canon and Fugue	150	(2)
Proportion: The Golden Mean	152	(1)
Nonthematic Delineators of Musical Form	152	(2)
Nonorganic Approaches to Musical Form	154	(3)
Summary	154	(1)
Notes	155	(1)
Exercises	155	(2)
Imports and Allusions	157	(18)
Introduction	157	(1)
Influences From the Past	157	(7)
Influences From Folk Music, Jazz, and Rock	164	(6)
Music From Other Cultures	170	(5)
Summary	172	(1)
Notes	172	(1)
Exercises	173	(2)
Nonserial Atonality	175	(23)
Introduction	175	(1)
Characteristics of Atonal Music	176	(2)
Pitch-Class Sets	178	(1)
Octave Equivalence, Transpositional Equivalence, and Normal Order	178	(4)
Inversional Equivalence and Best Normal Order	182	(3)
Prime Forms and Set Classes	185	(1)
The Interval-Class Vector	186	(2)
Forte Labels	188	(1)
Subsets	189	(1)
Aggregates	190	(1)
More About Segmentation	191	(7)
Summary	192	(1)
Notes	192	(1)
Exercises	193	(5)
Classical Serialism	198	(24)
Introduction	198	(1)
Basic Terminology	199	(2)
The Twelve-Tone Matrix	201	(1)
A First Example	202	(2)
Analyzing a Row	204	(3)
Compositional Uses of the Row	207	(2)
Set Succession	209	(2)
Combinatoriality	211	(2)
The Analysis of Serial Music	213	(9)
Summary	214	(1)
Notes	214	(1)
Exercises	214	(8)
Timbre and Texture: Acoustic	222	(23)
Introduction	222	(1)
New Timbral Effects From Traditional Instruments	222	(1)
Wind Instruments	223	(2)
Stringed Instruments	225	(3)
Percussion Instruments	228	(3)
The Piano	231	(1)
The Voice	231	(1)
Instrumentation and Orchestration	232	(4)
Traditional Textures and Compound Textures	236	(2)
Pointillism, Stratification, and Sound-Mass	238	(1)
Texture as a Form Determinant	239	(6)
Summary	240	(1)
Notes	240	(1)
Exercises	241	(4)
Timbre and Texture: Electronic	245	(19)
Introduction	245	(1)
Concrete Music	246	(1)
The Classical Electronic Music Studio	247	(3)
Digital Synthesis	250	(3)
The Development of Midi	253	(1)
Samplers, Personal Computers, and Recent Trends in Digital Synthesis	254	(2)
Tape and Instrument, Live Performance, and Interactive Computer Music	256	(1)
Notation of Electronic Music	257	(7)
Summary	259	(1)
Notes	259	(1)
Exercises	259	(5)
Serialism After 1945	264	(20)
Introduction	264	(1)
Integral Serialism	265	(10)
Integral Serialism in Perspective	275	(1)
Other Aspects of Serialism	276	(3)
Music After Serialism	279	(5)
Summary	279	(1)
Notes	280	(1)
Exercises	280	(4)
The Roles of Chance and Choice in Twentieth-Century Music	284	(17)
Introduction	284	(1)
Chance in Composition	285	(1)
Choice in Performance	286	(2)
Some Examples of Performer Indeterminacy	288	(6)
Graphic Scores and Text Scores	294	(3)
Music on the Fringe	297	(4)
Summary	298	(1)
Notes	298	(1)
Exercises	298	(3)
Minimalism and Beyond	301	(18)
Introduction	301	(1)
Minimalism	301	(6)
Beyond Minimalism	307	(12)
Summary and Conclusion	316	(1)
Notes	316	(1)
Exercises	317	(2)
Appendix: Prime Forms, Forte Labels, and Interval-Class Vectors	319	(4)
Bibliography	323	(5)
Index	328