Download A Geometry of Music: Harmony and Counterpoint in the by Dmitri Tymoczko PDF

By Dmitri Tymoczko

How is the Beatles' "Help!" just like Stravinsky's "Dance of the Adolescents?" How does Radiohead's "Just" relate to the improvisations of invoice Evans? and the way do Chopin's works make the most the non-Euclidean geometry of musical chords?
during this groundbreaking paintings, writer Dmitri Tymoczko describes a brand new framework for pondering tune that emphasizes the commonalities between kinds from medieval polyphony to modern rock. Tymoczko identifies 5 easy musical gains that together give a contribution to the feel of tonality, and exhibits how those positive factors recur in the course of the background of Western tune. within the method he sheds new mild on an age-old query: what makes track sound good?
A Geometry of track presents an available advent to Tymoczko's progressive geometrical method of song idea. The booklet indicates the right way to build basic diagrams representing relationships between ordinary chords and scales, giving readers the instruments to translate among the musical and visible nation-states and revealing astonishing levels of constitution in differently hard-to-understand items.
Tymoczko makes use of this theoretical beginning to retell the background of Western song from the 11th century to the current day. Arguing that conventional histories concentration too narrowly at the "common practice" interval from 1680-1850, he proposes as an alternative that Western track contains a longer universal perform stretching from the past due center a while to the current. He discusses a number of popular items through a variety of composers, from Bach to the Beatles, Mozart to Miles Davis, and lots of in between.
A Geometry of song is out there to a number readers, from undergraduate song majors to scientists and mathematicians with an curiosity in song. Defining its phrases alongside the way in which, it presupposes no distinctive mathematical historical past and just a easy familiarity with Western track concept. The publication additionally includes routines designed to enhance and expand readers' figuring out, in addition to a chain of appendices that discover the technical information of this fascinating new conception.

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Additional info for A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (Oxford Studies in Music Theory)

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Both writers explained the specialness of the triad in terms of the way it is embedded in a larger collection. In the following chapters, I provide an account that applies to consonant chords more generally and that does not presuppose embedding into a larger scale. Five Components of Tonality together. The next few chapters will elaborate on this point, using the notion of near symmetry to explain exactly how chord structure constrains contrapuntal function. Later chapters will trace the practical consequences of this interdependence, considering a range of superficially different styles, from Renaissance polyphony to contemporary jazz, and showing that they all utilize fundamentally similar procedures.

These transformations play an important role in many different musical styles, and are central to contemporary music theory. 1). 00001 of a semitone. The second type of distance-preserving transformation, inversion, turns musical space upside-down. 2 depicts inversion as it operates on the theme of Bach’s A minor prelude from Book II of the Well-Tempered Clavier. Where the left hand of (a) begins with an ascending octave leap, followed by a series of descending semitones, the left hand of (b) begins with a descending octave leap followed by a series of ascending semitones.

2, labels for familiar equal-tempered pitches 1 Transposition preserves these distances, since f/g = cf/cg. McDermott and Hauser (2005) suggest that this measure of musical distance is innate and that it is common to at least some nonhuman animals. Dowling and Harwood (1986) suggest it is a musical universal. 2 Linear pitch space is a continuous line, containing a point for every conceivable pitch. can be determined by counting keys on an ordinary piano, so that the Cs above middle C is 61, the D above that is 62, and so on.

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