Charles M. Atkinson
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780195148886
- eISBN:
- 9780199852185
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195148886.001.0001
- Subject:
- Music, History, Western
This book confronts an enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To ...
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This book confronts an enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, the book creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the 6th to the 12th century. Out of this examination emerges the central point behind the problem: the tone system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone system, mode, and notation, the book promises insights into what mode meant to the medieval musician and how the system responded to its inherent limitations. Through an examination of the major musical treatises from the 6th through the 12th centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. The book builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation.Less
This book confronts an enigma of early writings on music: why chant, which was understood to be divinely inspired, needed to be altered in order to work within the then-operative modal system. To unravel this mystery, the book creates a broad framework that moves from Greek harmonic theory to the various stages in the transmission of Roman chant, citing numerous music treatises from the 6th to the 12th century. Out of this examination emerges the central point behind the problem: the tone system advocated by writers coming from the Greek harmonic tradition was not suited to the notation of chant and this basic incompatibility led to the creation of new theoretical constructs. By tracing the path of subsequent adaptation at the nexus of tone system, mode, and notation, the book promises insights into what mode meant to the medieval musician and how the system responded to its inherent limitations. Through an examination of the major musical treatises from the 6th through the 12th centuries, this text establishes a central dichotomy between classical harmonic theory and the practices of the Christian church. The book builds the foundation for a broad and original reinterpretation of the modal system and how it relates to melody, grammar, and notation.
James Tenney
Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter (eds)
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252038723
- eISBN:
- 9780252096679
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038723.003.0012
- Subject:
- Music, Theory, Analysis, Composition
James Tenney examines some of John Cage's theoretical ideas and their possible implications for a new theory of harmony that he argues requires new definitions of “harmony,” “harmonic relations,” ...
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James Tenney examines some of John Cage's theoretical ideas and their possible implications for a new theory of harmony that he argues requires new definitions of “harmony,” “harmonic relations,” etc.; such definitions, he contends, will emerge from a more careful analysis of the “total soundspace” of musical perception. Tenney begins with a discussion of the current disparity between harmonic theory and compositional practice before explaining what a true theory of harmony should be: a theory of harmonic perception (one component in a more general theory of musical perception) consistent with the most recent data available from the fields of acoustics and psychoacoustics but also taking into account the extended range of musical experiences available to us today. Tenney outlines the conditions that such a theory ought to satisfy and goes on to consider a multidimensional space of pitch perception called harmonic space.Less
James Tenney examines some of John Cage's theoretical ideas and their possible implications for a new theory of harmony that he argues requires new definitions of “harmony,” “harmonic relations,” etc.; such definitions, he contends, will emerge from a more careful analysis of the “total soundspace” of musical perception. Tenney begins with a discussion of the current disparity between harmonic theory and compositional practice before explaining what a true theory of harmony should be: a theory of harmonic perception (one component in a more general theory of musical perception) consistent with the most recent data available from the fields of acoustics and psychoacoustics but also taking into account the extended range of musical experiences available to us today. Tenney outlines the conditions that such a theory ought to satisfy and goes on to consider a multidimensional space of pitch perception called harmonic space.
Russell A. Schmidt
- Published in print:
- 2019
- Published Online:
- July 2019
- ISBN:
- 9780190462574
- eISBN:
- 9780190462611
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190462574.003.0018
- Subject:
- Music, History, American
Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be ...
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Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.Less
Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.
Gary Giddins
- Published in print:
- 2013
- Published Online:
- August 2015
- ISBN:
- 9780816690411
- eISBN:
- 9781452949536
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816690411.003.0003
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter discusses the musicians that greatly influenced the career of Charlie Parker. Charlie took a job at the popular hangout place Jimmy’s Chicken Shack where he met Art Tatum, a pianist who ...
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This chapter discusses the musicians that greatly influenced the career of Charlie Parker. Charlie took a job at the popular hangout place Jimmy’s Chicken Shack where he met Art Tatum, a pianist who inspired him that that any note could be made to fit in a chord. He then performed a music gig at Times Square where he met Bill “Biddy” Fleet who taught him the harmonic theory. He practiced what he learned from Tatum and Fleet, playing passing tones and concentrating on the higher intervals of chords raised to ninths, elevenths, or thirteenths.Less
This chapter discusses the musicians that greatly influenced the career of Charlie Parker. Charlie took a job at the popular hangout place Jimmy’s Chicken Shack where he met Art Tatum, a pianist who inspired him that that any note could be made to fit in a chord. He then performed a music gig at Times Square where he met Bill “Biddy” Fleet who taught him the harmonic theory. He practiced what he learned from Tatum and Fleet, playing passing tones and concentrating on the higher intervals of chords raised to ninths, elevenths, or thirteenths.
