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Книги з теми "Phrase rhythm in macrotext"

Автор: Grafiati

Опубліковано: 3 червня 2025

Оновлено: 31 липня 2025

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1

Rothstein, William Nathan. Phrase rhythm in tonal music. Schirmer Books, 1989.

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2

Kratus, John Kevin. Rhythm, melody, motive, and phrase characteristics of original songs by children aged five to thirteen. [s.n.], 1985.

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3

Beach, David. Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive and Form. Taylor & Francis Group, 2019.

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4

Beach, David. Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive and Form. Taylor & Francis Group, 2019.

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5

Beach, David. Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive and Form. Taylor & Francis Group, 2019.

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6

Beach, David. Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive and Form. Taylor & Francis Group, 2019.

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7

Beach, David. Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. Taylor & Francis Group, 2013.

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8

Beach, David. Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. Taylor & Francis Group, 2013.

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9

Beach, David. Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. Taylor & Francis Group, 2013.

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10

Beach, David. Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. Taylor & Francis Group, 2013.

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11

Beach, David. Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. Taylor & Francis Group, 2013.

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12

Advanced Schenkerian Analysis: Perspectives on Phrase Rhythm, Motive, and Form. Routledge, 2013.

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13

Advanced Schenkerian analysis: Perspectives on phrase rhythm, motive, and form. Routledge, 2012.

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14

Long, Megan Kaes. Hearing Homophony. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190851903.001.0001.

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Анотація:

This book examines a repertoire of homophonic vernacular partsongs composed around the turn of the seventeenth century, and considers how these partsongs exploit rhythm, meter, phrase structure, and form to craft harmonic trajectories. Giovanni Giacomo Gastoldi, Thomas Morley, Hans Leo Hassler, and their contemporaries engineered a particular kind of centricity that is distinctively tonal: they strategically deployed dominant harmonies at regular periodicities and in combination with poetic, phrase structural, and formal cues, thereby creating expectation for tonic harmonies. Homophony provide

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15

Benadon, Fernando. Swinglines. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197659977.001.0001.

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Abstract Rhythms traditionally framed as “deviations” have their own identities. They are coherent products of precise musical thought and action. Rather than situating them in the neither-here-nor-there, Swinglines takes an inclusive view where meter and isochrony are particular cases within the broader universe of musical time. This book flips the frame from what rhythm is not to what rhythm is. As conceptualized here, swing flattens the temporal field to consider how note values relate to one another by any magnitude, not just the simple ratios of traditional theory. At its core, Swinglines

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16

Beal, Amy C. New York Waltzes. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039157.003.0004.

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Анотація:

This chapter examines Beyer's solo piano pieces. The titles for her three major piano suites—Gebrauchs-Musik, Dissonant Counterpoint, and Clusters—derive from techniques in the air during the mid-1930s. Beyer's Gebrauchs-Musik (1934) consists of five short, mostly two-voice pieces. The undated Dissonant Counterpoint likewise explores repeating and evolving rhythmic patterns, as well as additive rhythm ideas, expanding the length of individual measures within an ametrical setting and creating discretely separate phrase structures similar to techniques used in her clarinet suites. Like much of B

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17

Temperley, David. Strategies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0009.

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Анотація:

Strategies are recurrent structural patterns that combine the musical dimensions explored in previous chapters—key/tonality, harmony, melody, rhythm/meter, phrase structure, timbre, form—for structural or expressive effect. One set of strategies concerns the boundary between the first VCU (verse-chorus unit) and the second; here there often seems to be an effort to balance continuity and closure. Another set of strategies involves the IV chord, which is used in rather specific ways to achieve cadential effects. VCUs often reflect an overall trajectory of tension, either “middle-peaking” or “en

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18

Hutchinson, G. O. Rhythmic Prose in Plutarch’s Lives. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0002.

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Анотація:

From this chapter the book goes more deeply into one productive and central author: Plutarch. The basis for the book is a scansion of all of Plutarch’s Lives, not just the end of sentences but every small phrase: 2,297 pages, almost 100,000 phrases. For the other half of Plutarch’s work, the philosophical and related writings, the end of every sentence has been scanned. There thus exists a much more abundant body of material for the consideration of Plutarch than for any other Greek author. It is possible to advance from scansion into interpretation. With many detailed examples, and with the h

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19

Temperley, David. The Musical Language of Rock. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.001.0001.

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A theory of the structure of rock music is presented, addressing aspects such as tonality/key, harmony, rhythm/meter, melody, phrase structure, timbre/instrumentation, form, and emotional expression. The book brings together ideas from the author’s previous articles but also contains substantial new material. Rock is defined broadly (as it often is) to include a wide range of late twentieth-century Anglo-American popular styles, including 1950s rock & roll, Motown, soul, “British invasion” rock, soft rock, heavy metal, disco, new wave, and alternative rock. The study largely employs the in

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20

Kresky, Jeffrey. A Reader's Guide to the Chopin Preludes. Greenwood, 1994. http://dx.doi.org/10.5040/9798216005162.

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Анотація:

In Chopin's set of 24 interconnectedPreludes (Op. 28), we are presented with 24 distinct compositional surfaces, aiming at as many distinguishable emotional expressions. As such, the Preludes stand as a virtual survey of the developing musical manners of the 19th century--which was, after all, the stylistic period in which mood was promoted most energetically and frankly. Under analytic investigation, the technical means to these varied expressive ends can be discovered and assessed. 24 separate explorations reveal themselves to the inquiring musician, who can investigate any or as many of the

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