Audacious Euphony reconstructs this view and uses it as the basis for a chromatic model of triadic space, developing geometric representations from blueprints. Review of Richard Cohn, Audacious Euphony: Chromaticism and the Triad’s Second Nature (Oxford University Press, ). Audacious Euphony has 22 ratings and 0 reviews. Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diaton.
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This book is not yet featured on Listopia. At the heart of the approach is the observation that major and minor triads are minimal perturbations of perfectly even augmented triads, and that this property underlies their status as voice-leading optimizers.
Audacious Euphony: Chromaticism and the Triad’s Second Nature
Joseph Jakubowski added it Jun 08, Readers will immediately notice one novel feature of the book: Classical, Early, and Medieval Plays and Playwrights: Lucid and engagingly written, this book is indispensable reading for music theorists and indeed for anyone deeply interested in 19th-century chromatic harmony.
Navigating the Triadic Universe: Peter Castine marked it as to-read Aug 11, Don’t have an account? As such, it will frame the continuing debate about nineteenth-century chromaticism and be an essential reference point for the non-integrationist perspective.
Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. For example, the Tonnetz privileges relative R relations over other Weitzmann transformations like nebenverwandt N and Slide Seven though all Weitzmann transformations involve two units of voice-leading work.
This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century. Search my Subject Specializations: In preparation is a general model of meter with applications for European, African, euphhony African-diasporic music, and a co-edited collection on David Lewin’s phenomenological writings.
Account Options Sign in. The model renders coherent many passages of romantic music e. These animations bring many of the Tonnetz analyses, whose dynamic properties are often hard to reproduce on the printed page, to life.
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Generalized Musical Intervals and Transformations.
Chapter 6 enlists two principles developed over the previous chapters in a number of analytical vignettes. The second is capable of working with more thoroughly dissonant chords like diminished sevenths and French augmented sixths. The first is by deletion of dissonant notes. In doing so, he shows that major and minor triads have two distinct natures: John Savva rated it it ekphony amazing Oct 31, Damon Couch audacoous it as to-read Mar 16, But Cohn largely eschews the four-note Tonnetzwhich cannot be realized in two dimensions.
The difference is best illustrated in chapters 5 and 6, with mostly foreground analyses in the former and background in the latter.
In Audacious Euphonyauthor Richard Cohn takes both of these views to task, arguing that euphonny harmony operates under syntactic principles distinct from those that euphhony classical tonality, but no less susceptible to systematic definition. Audacious Euphony Chromatic Harmony and the Triad’s Second Nature Richard Cohn Oxford Studies in Music Theory A new and controversial theory of 19th-century harmony A systematic development of a historical model A new explanation for why 19th-century music is affiliated with the supernatural Features a companion website with expanded transcriptions.
Vasile marked audxcious as to-read May 27, Adam rated it really liked it Jan 17, Chapter Two Hexatonic Cycles. His work on chromatic harmony has been the topic of a series of summer seminars convened by the late John Clough, and has been developed in about a dozen doctoral dissertations, at Chicago, Indiana, Yale, Harvard, and SUNY-Buffalo.
It is also necessary reading for anyone interested in nineteenth-century music, reflecting a comprehensive picture of nineteenth-century composers’ use of harmony that penetrates deeply into the repertoire. Yet the superficial impression that Cohn might simply be consolidating his legacy of transformational approaches to euphlny harmony by collecting fifteen years worth of work in one volume turns out to be wholly inaccurate. Joseph Vanderstel is currently reading it Jun 07, Dale Zhou marked it as to-read Jul 14, Oxford University Press is a department of the University of Oxford.
These last three chapters are more mixed, and on average more tentative, than the preceding.