یادداشتهای مربوط به کتابنامه ، واژه نامه و نمایه های داخل اثر
متن يادداشت
Includes bibliographical references and index.
یادداشتهای مربوط به مندرجات
متن يادداشت
Cover; Series; Organized Time; Copyright; Dedication; Contents; Acknowledgments; Introduction; Time and Landscape; Dimension; 1 Rhythmic Hierarchy and the Network Model; 1.1 Metrical and Rhythmic Structures as Temporal Hierarchies; 1.2 Rhythmic Classes and Transformations; 1.3 Inferring Rhythmic Hierarchies; 1.4 Metricality; 2 Tonal Structure; 2.1 Melodic Structure; 2.2 Backgrounds; 2.3 Repetition; 2.4 Keys; 2.5 Tonal Models for Binary Forms; 3 Formal Structure; 3.1 Elements of Form: Repetition, Contrast, Fragmentation; 3.2 Small Baroque Forms; 3.3 Expositions and the Secondary Theme
متن يادداشت
12.1 High-Level Tonal-Formal Disjunction in Sonata Form12.2 Alternate Subordinate Keys; 12.3 Disjunction in the Exposition: Modulating Subordinate Themes; 12.4 Off-Tonic Recapitulations; 13 Graph Theory for Temporal Structure; 13.1 Planarity and Cycles; 13.2 Direction and Confluence; 13.3 Holes; 13.4 MOPs as Trees; 13.5 Reduction Trees, Event Trees, and Spanning Trees over MOPs; 13.6 Spanning Trees and the Cycle/Edge-Cut Algebras; 14 A Geometry of Temporal Structure; 14.1 Associahedra; 14.2 Higher Dimensional Associahedra and their Facets; 14.3 Evenness; Epilogue; Bibliography
متن يادداشت
3.4 Interactions of Form and Tonal Structure4 Structural Networks and the Experience of Musical Time; 4.1 Depth, Distance, and Classification of Structural Shapes; 4.2 A Phenomenology of Structure; 4.3 Center, Skew, and Bias; 4.4 Splitting and Disjunction; 5 Timespan Intervals; 5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue; 5.2 Classification of Timespan Intervals; 5.3 Hypermetrical Hemiola in a Bach Prelude; 5.4 Transformations of Rhythmic Structures; 6 Hypermeter; 6.1 Hypermeter in the Eye of the Beholder; 6.2 Some Criteria for Hypermetrical Analyses
متن يادداشت
6.3 Functions of Hypermetrical Shift in Haydn's Symphonies6.4 Indefinite Hypermeter and Hypermetrical Reinterpretation; 7 Hypermeter, Form, and Closure; 7.1 Hypermetrical Placement in Cadential Syntax; 7.2 Mozart's Afterbeat Melodic Ideas; 7.3 Main Theme Endings in Haydn's Symphonies; 7.4 Elided Cadences and Expositional Closure; 7.5 Beethoven's Open Expositions; 8 Syncopation; 8.1 Contrapuntal and Tonal versus Structural Syncopation; 8.2 Contrapuntal Syncopation and Metrical Dissonance; 8.3 Hypermetrical Syncopation and Contrapuntal Displacement
متن يادداشت
8.4 Rhythmic Process as Formal Process in Beethoven9 Counterpoint; 9.1 Rhythmic Counterpoint; 9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint; 9.3 Counterpoint of Tonal Structures; 9.4 Formal Counterpoint; 10 Harmony Simplified; 10.1 Harmonic Syntax and Structure; 10.2 Voice leading on the Tonnetz; 10.3 Enharmonicism; 11 Reforming Formal Analysis; 11.1 Tonal-Formal Disjunction and the Phrase; 11.2 Ritornello Form in the Eighteenth-Century Symphony; 11.3 Form(s) and Recipes; 11.4 Beyond the Frame; 12 Tonal-Formal Disjunction
بدون عنوان
0
بدون عنوان
8
بدون عنوان
8
بدون عنوان
8
بدون عنوان
8
یادداشتهای مربوط به خلاصه یا چکیده
متن يادداشت
Organized Time is the first attempt to unite theories of harmony, rhythm, and form under a common idea of structured time. This is a major advance in the field of music theory, leading to new theoretical approaches to topics such as closure, hypermeter, and formal function.
ویراست دیگر از اثر در قالب دیگر رسانه
عنوان
Organized time.
شماره استاندارد بين المللي کتاب و موسيقي
9780190696481
موضوع (اسم عام یاعبارت اسمی عام)
موضوع مستند نشده
Musical analysis.
موضوع مستند نشده
Musical form.
موضوع مستند نشده
Musical meter and rhythm.
موضوع مستند نشده
MUSIC-- Instruction & Study-- Theory.
موضوع مستند نشده
Musical analysis.
موضوع مستند نشده
Musical form.
موضوع مستند نشده
Musical meter and rhythm.
مقوله موضوعی
موضوع مستند نشده
MUS-- 041000
رده بندی ديویی
شماره
781
.
2/2
ويراست
23
رده بندی کنگره
شماره رده
ML3850
نشانه اثر
.
Y87
2018eb
نام شخص به منزله سر شناسه - (مسئولیت معنوی درجه اول )