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E-raamat: Organized Time: Rhythm, Tonality, and Form

(Assistant Professor of Music Theory, Boston University School of Music)
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Organized Time is the first attempt to unite theories of harmony, rhythm and meter, and form under a common idea of structured time. Building off of recent advances in music theory in essential subfields-rhythmic theory, tonal structure, and the theory of musical form--author Jason Yust demonstrates that tonal music exhibits similar hierarchical organization in each of these dimensions. Yust develops a network model for temporal structure with an application of mathematical graph theory, which leads ultimately to musical applications of a multi-dimensional polytope called the associahedron. A wealth of analytical examples includes not only the familiar tonal canon-J.S. Bach, Mozart, Schumann--but also lesser known masters of the musical Enlightenment such as C.P.E. and J.C. Bach, Boccherini, and Johann Gottlieb Graun.

Yust's approach has wide-ranging ramifications across music theory, enabling new approaches to musical closure, hypermeter, formal function, syncopation, and rhythmic dissonance, as well as historical observations about the development of sonata form and the innovations of Haydn and Beethoven. Making a forceful argument for the independence of musical modalities and for multivalent approach to music analysis, Organized Time establishes the aesthetic importance of structural disjunction, the conflict of structure in different modalities, in numerous analytical contexts.

Arvustused

Astonishing in both its ambition and its achievement. [ Organized Time] offers a theory of tonal music that treats harmony, rhythm, and form as separate dimensions that might either reinforce or contradict each other, providing an appealing notation system that permits direct comparison of these dimensions. It profoundly rethinks aspects of tonal theory that we had thought pretty well settled. The theoretical framework is powerful and the analyses-of both familiar and unfamiliar tonal works-are deeply revealing. * Danuta Mirka, Professor of Music Theory and Cognition, Northwestern University *

Muu info

Winner of Winner for the Wallace Berry Award from the Society for Music Theory.
Acknowledgments ix
Introduction 1(11)
Time and Landscape
1(4)
Dimension
5(7)
1 Rhythmic Hierarchy and the Network Model
12(16)
1.1 Metrical and Rhythmic Structures as Temporal Hierarchies
12(4)
1.2 Rhythmic Classes and Transformations
16(3)
1.3 Inferring Rhythmic Hierarchies
19(5)
1.4 Metricality
24(4)
2 Tonal Structure
28(31)
2.1 Melodic Structure
29(6)
2.2 Backgrounds
35(8)
2.3 Repetition
43(4)
2.4 Keys
47(6)
2.5 Tonal Models for Binary Forms
53(6)
3 Formal Structure
59(32)
3.1 Elements of Form: Repetition, Contrast, Fragmentation
60(7)
3.2 Small Baroque Forms
67(3)
3.3 Expositions and the Secondary Theme
70(11)
3.4 Interactions of Form and Tonal Structure
81(10)
4 Structural Networks and the Experience of Musical Time
91(18)
4.1 Depth, Distance, and Classification of Structural Shapes
91(7)
4.2 A Phenomenology of Structure
98(5)
4.3 Center, Skew, and Bias
103(2)
4.4 Splitting and Disjunction
105(4)
5 Timespan Intervals
109(14)
5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue
110(3)
5.2 Classification of Timespan Intervals
113(2)
5.3 Hypermetrical Hemiola in a Bach Prelude
115(3)
5.4 Transformations of Rhythmic Structures
118(5)
6 Hypermeter
123(22)
6.1 Hypermeter in the Eye of the Beholder
123(3)
6.2 Some Criteria for Hypermetrical Analyses
126(7)
6.3 Functions of Hypermetrical Shift in Haydn's Symphonies
133(7)
6.4 Indefinite Hypermeter and Hypermetrical Reinterpretation
140(5)
7 Hypermeter, Form, and Closure
145(32)
7.1 Hypermetrical Placement in Cadential Syntax
146(5)
7.2 Mozart's Afterbeat Melodic Ideas
151(8)
7.3 Main Theme Endings in Haydn's Symphonies
159(3)
7.4 Elided Cadences and Expositional Closure
162(8)
7.5 Beethoven's Open Expositions
170(7)
8 Syncopation
177(26)
8.1 Contrapuntal and Tonal versus Structural Syncopation
178(2)
8.2 Contrapuntal Syncopation and Metrical Dissonance
180(8)
8.3 Hypermetrical Syncopation and Contrapuntal Displacement
188(3)
8.4 Rhythmic Process as Formal Process in Beethoven
191(12)
9 Counterpoint
203(29)
9.1 Rhythmic Counterpoint
203(5)
9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint
208(11)
9.3 Counterpoint of Tonal Structures
219(6)
9.4 Formal Counterpoint
225(7)
10 Harmony Simplified
232(34)
10.1 Harmonic Syntax and Structure
232(11)
10.2 Voice leading on the Tonnetz
243(7)
10.3 Enharmonicism
250(16)
11 Reforming Formal Analysis
266(43)
11.1 Tonal-Formal Disjunction and the Phrase
266(3)
11.2 Ritornello Form in the Eighteenth-Century Symphony
269(13)
11.3 Form(s) and Recipes
282(8)
11.4 Beyond the Frame
290(19)
12 Tonal-Formal Disjunction
309(33)
12.1 High-Level Tonal-Formal Disjunction in Sonata Form
309(2)
12.2 Alternate Subordinate Keys
311(9)
12.3 Disjunction in the Exposition: Modulating Subordinate Themes
320(7)
12.4 Off-Tonic Recapitulations
327(15)
13 Graph Theory for Temporal Structure
342(31)
13.1 Planarity and Cycles
342(5)
13.2 Direction and Confluence
347(5)
13.3 Holes
352(1)
13.4 MOPs as Trees
353(6)
13.5 Reduction Trees, Event Trees, and Spanning Trees over MOPs
359(4)
13.6 Spanning Trees and the Cycle/Edge-Cut Algebras
363(10)
14 A Geometry of Temporal Structure
373(20)
14.1 Associahedra
373(8)
14.2 Higher Dimensional Associahedra and their Facets
381(6)
14.3 Evenness
387(6)
Epilogue 393(4)
Bibliography 397(14)
Index of Works 411(4)
Index 415
Jason Yust is Assistant Professor of Music Theory at Boston University. Born in St. Louis, Missouri, he received a BA in Music at Brown University and a PhD in Music Theory from the University of Washington. His research interests include mathematical theories of harmonic space; metrical, tonal, and formal structure in tonal music; and music perception and cognition.