First Sentence:
In most pre-9th-century theoretical sources, the cognates of consonance and dissonance-or of related words like concord and discord, symphony and diaphony, and even our more general term harmony-refer neither to the sonorous qualities of simultaneous tones nor to their functional characteristics in a musical context but rather to some more abstract (and yet perhaps more basic) sense of relatedness between sounds which-though it might determine in certain ways their effects in a piece of music-is logically antecedent to these effects.
Read the first page
Key Phrases - Statistically Improbable Phrases (SIPs):
(learn more)
simultaneous dyads, entitive sense, dissonant status, dissonant dyad, simultaneous aggregates, sonorous character, words consonance, harmonic root, beat theory, polyphonic practice, imperfect consonances, given dyad, sonorous quality, perfect chord, dissonant note, harmonic practice, upper partials, dissonant interval, double octave, musical perception, fundamental sound, critical band, upper note
Key Phrases - Capitalized Phrases (CAPs):
(learn more)
New York, John of Garland, Oxford University Press, Richard Crocker, Vincenzo Galilei, Franco of Cologne, Source Readings, Colorado College Music Press, Colorado Springs, Gustave Reese, Jean-Philippe Rameau, Joel Lester, Journal of the American Musicological Society, Pietro Aaron, Theon of Smyrna, Claude Palisca, Johannes Lippius, Journal of Music Theory, Norman Cazden, American Institute of Musicology, Benito Rivera, Dom Anselm Hughes, Georg Olms, Knud Jeppesen, Middle Ages
New!
Books on Related Topics |
Concordance
|
Text Stats
Browse Sample Pages:
Front Cover |
Table of Contents |
First Pages |
Back Cover |
Surprise Me!
