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Tonality and Transformation is a groundbreaking study in the analysis of tonal music. Focusing on the listener's experience, author Steven Rings employs transformational music theory to illuminate diverse aspects of tonal hearing - from the infusion of sounding pitches with familiar tonal qualities to sensations of directedness and attraction. In the process, Rings introduces a host of new analytical techniques for the study of the tonal repertory, demonstrating their application in vivid interpretive set pieces on music from Bach to Mahler. The analyses place the book's novel techniques in dialogue with existing tonal methodologies, such as Schenkerian theory, avoiding partisan debate in favor of a methodologically careful, pluralistic approach. Rings also engages neo-Riemannian theory-a popular branch of transformational thought focused on chromatic harmony-reanimating its basic operations with tonal dynamism and bringing them into closer rapprochement with traditional tonal concepts. Written in a direct and engaging style, with lively prose and plain-English descriptions of all technical ideas, Tonality and Transformation balances theoretical substance with accessibility: it will appeal to both specialists and non-specialists. It is a particularly attractive volume for those new to transformational theory: in addition to its original theoretical content, the book offers an excellent introduction to transformational thought, including a chapter that outlines the theory's conceptual foundations and formal apparatus, as well as a glossary of common technical terms. A contribution to our understanding of tonal phenomenology and a landmark in the analytical application of transformational techniques, Tonality and Transformation is an indispensible work of music theory.

In this classic work, George Perle argues that the seemingly disparate styles of post-triadic music in fact share common structural elements. These elements collectively imply a new tonality as "natural" and coherent as the major-minor tonality that was the basis of a common musical language in the past. His book describes the foundational assumptions of this post-diatonic tonality and illustrates its compositional functions with numerous musical examples.The second edition of Twelve-Tone Tonality is enlarged by eleven new chapters, some of which are "postscripts" to earlier chapters―clarifying, elucidating, and expanding upon concepts discussed in the original edition. Others discuss new developments in the theory and practice of twelve-tone tonality, including voice-leading implications of the system and dissonance treatment.

Stories of Tonality in the Age of François-Joseph Fétis explores the concept of musical tonality through the writings of the Belgian musicologist François-Joseph Fétis (1784–1867), who was singularly responsible for theorizing and popularizing the term in the nineteenth century. Thomas Christensen weaves a rich story in which tonality emerges as a theoretical construct born of anxiety and alterity for Europeans during this time as they learned more about “other” musics and alternative tonal systems. Tonality became a central vortex in which French musicians thought—and argued—about a variety of musical repertoires, be they contemporary European musics of the stage, concert hall, or church, folk songs from the provinces, microtonal scale systems of Arabic and Indian music, or the medieval and Renaissance music whose notational traces were just beginning to be deciphered by scholars. Fétis’s influential writings offer insight into how tonality ingrained itself within nineteenth-century music discourse, and why it has continued to resonate with uncanny prescience throughout the musical upheavals of the twentieth and twenty-first centuries.  

Collected Writings of the Orpheus Institute 6"We have developed a tremendous amount of what might best be referred to as journalistic knowledge concerning the ways that musicians of earlier periods thought about musical structures. Now that we have that knowledge, what might we do with it?"―Joel LesterThe often complex connections and intersections between modal and tonal idioms and contrapuntal and harmonic organization during the transition from the Renaissance to the Baroque era are considered from various perspectives in Towards Tonality. Prominent musicians and scholars from a wide range of fields testify here to their personal understanding of this significant time of shifts in musical taste. This collection of essays is based on lectures presented during the conference "Historical Theory, Performance, and Meaning in Baroque Music," organized by the International Orpheus Academy for Music and Theory in Ghent, Belgium.

This book explores the web of pitch relations that generates the musical language of non-serialized twelve-tone music and supplies both the analytical materials and methods necessary for analyses of a vast proportion of the 20th century musical repertoire. It does so in a simple, clear, and systematic manner to promote an easily accessible and global understanding of this music. Since the chromatic scale is the primary source for the pitch materials of 20th-century music, common sub-collections of the various modes and interval cycles serve as the basis for their mutual transformation. It is precisely this peculiarity of the non-serialized twelve-tone system that allows for an array of pitch relations and modal techniques hitherto perceived difficult if not impossible to analyze. Susanni and Antokoletz present the principles, concepts, and materials employed for analysis using a unique theoretic-analytical approach to the new musical language. The book contains a large number of original analyses that explore a host of composers including Ives, Stravinsky, Bartók, Messiaen, Cage, Debussy, Copland, and many more, providing insight into the music of the tonal revolution of the twentieth century and contributing an important perspective to how music works in general.

In this classic work, George Perle argues that the seemingly disparate styles of post-triadic music in fact share common structural elements. These elements collectively imply a new tonality as "natural" and coherent as the major-minor tonality that was the basis of a common musical language in the past. His book describes the foundational assumptions of this post-diatonic tonality and illustrates its compositional functions with numerous musical examples.The second edition of Twelve-Tone Tonality is enlarged by eleven new chapters, some of which are "postscripts" to earlier chapters―clarifying, elucidating, and expanding upon concepts discussed in the original edition. Others discuss new developments in the theory and practice of twelve-tone tonality, including voice-leading implications of the system and dissonance treatment.

Carl Dahlhaus was without doubt the premier musicologist of the postwar generation, a giant whose recent death was mourned the world over. Translated here for the first time, this fundamental work on the development of tonality shows his complete mastery of the theory of harmony. In it Dahlhaus explains the modern concepts of harmony and tonality, reviewing in the process the important theories of Rameau, Sechter, Ftis, Riemann, and Schenker. He contrasts the familiar premises of chordal composition with the lesser known precepts of intervallic composition, the basis for polyphonic music in the late Middle Ages and Renaissance. Numerous quotations from theoretical treatises document how early music was driven forward not by progressions of chords but by simple progressions of intervals.Exactly when did composers transform intervallic composition into chordal composition? Modality into tonality? Dahlhaus provides extensive analyses of motets by Josquin, frottole by Cara and Tromboncino, and madrigals by Monteverdi to demonstrate how, and to what degree, such questions can be answered. In his bold speculations, in his magisterial summaries, in his command of eight centuries of music and writings on music, and in his deep understanding of European history and culture, Carl Dahlhaus sets a standard that will seldom be equalled.Originally published in 1990.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Collected Writings of the Orpheus Institute 6"We have developed a tremendous amount of what might best be referred to as journalistic knowledge concerning the ways that musicians of earlier periods thought about musical structures. Now that we have that knowledge, what might we do with it?"―Joel LesterThe often complex connections and intersections between modal and tonal idioms and contrapuntal and harmonic organization during the transition from the Renaissance to the Baroque era are considered from various perspectives in Towards Tonality. Prominent musicians and scholars from a wide range of fields testify here to their personal understanding of this significant time of shifts in musical taste. This collection of essays is based on lectures presented during the conference "Historical Theory, Performance, and Meaning in Baroque Music," organized by the International Orpheus Academy for Music and Theory in Ghent, Belgium.

Carl Dahlhaus was without doubt the premier musicologist of the postwar generation, a giant whose recent death was mourned the world over. Translated here for the first time, this fundamental work on the development of tonality shows his complete mastery of the theory of harmony. In it Dahlhaus explains the modern concepts of harmony and tonality, reviewing in the process the important theories of Rameau, Sechter, Ftis, Riemann, and Schenker. He contrasts the familiar premises of chordal composition with the lesser known precepts of intervallic composition, the basis for polyphonic music in the late Middle Ages and Renaissance. Numerous quotations from theoretical treatises document how early music was driven forward not by progressions of chords but by simple progressions of intervals.Exactly when did composers transform intervallic composition into chordal composition? Modality into tonality? Dahlhaus provides extensive analyses of motets by Josquin, frottole by Cara and Tromboncino, and madrigals by Monteverdi to demonstrate how, and to what degree, such questions can be answered. In his bold speculations, in his magisterial summaries, in his command of eight centuries of music and writings on music, and in his deep understanding of European history and culture, Carl Dahlhaus sets a standard that will seldom be equalled.Originally published in 1990.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Carl Dahlhaus was without doubt the premier musicologist of the postwar generation, a giant whose recent death was mourned the world over. Translated here for the first time, this fundamental work on the development of tonality shows his complete mastery of the theory of harmony. In it Dahlhaus explains the modern concepts of harmony and tonality, reviewing in the process the important theories of Rameau, Sechter, Ftis, Riemann, and Schenker. He contrasts the familiar premises of chordal composition with the lesser known precepts of intervallic composition, the basis for polyphonic music in the late Middle Ages and Renaissance. Numerous quotations from theoretical treatises document how early music was driven forward not by progressions of chords but by simple progressions of intervals.Exactly when did composers transform intervallic composition into chordal composition? Modality into tonality? Dahlhaus provides extensive analyses of motets by Josquin, frottole by Cara and Tromboncino, and madrigals by Monteverdi to demonstrate how, and to what degree, such questions can be answered. In his bold speculations, in his magisterial summaries, in his command of eight centuries of music and writings on music, and in his deep understanding of European history and culture, Carl Dahlhaus sets a standard that will seldom be equalled.Originally published in 1990.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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The basic principles of progression and the means by which tonality is established in Bartók's music remain problematical to many theorists. Elliott Antokoletz here demonstrates that the remarkable continuity of style in Bartók's evolution is founded upon an all-encompassing system of pitch relations in which one can draw together the diverse pitch formations in his music under one unified set of principles.