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  191001s2020 nyuab ob 001 0 eng

• 010

  ▼a  2019044908

• 020

  ▼a  9780190851910
  ▼q  electronic book

• 020

  ▼a  0190851910
  ▼q  electronic book

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  ▼a  9780190851934
  ▼q  electronic book

• 020

  ▼a  0190851937
  ▼q  electronic book

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  ▼a  9780190851927
  ▼q  electronic book

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  ▼a  0190851929
  ▼q  electronic book

• 020

  ▼z  9780190851903
  ▼q  hardcover

• 035

  ▼a  2440720
  ▼b  (N$T)

• 035

  ▼a  (OCoLC)1122685491

• 040

  ▼a  DLC
  ▼b  eng
  ▼c  DLC
  ▼d  OCLCF
  ▼d  OCLCO
  ▼d  OCLCQ
  ▼d  EBLCP
  ▼d  N$T
  ▼d  YDX
  ▼d  248023
  ▼e  rda

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  ▼a  pcc

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  ▼a  MAIN

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  ▼a  ML1402
  ▼b  .L66 2020

• 082

  ▼a  782.4209/032
  ▼2  23

• 100

  ▼a  Long, Megan Kaes,
  ▼e  author.

• 245

  ▼a  Hearing homophony:
  ▼b  tonal expectation at the turn of the seventeenth century /
  ▼c  Megan Kaes Long.

• 260

  ▼a  New York, NY:
  ▼b  Oxford University Press,
  ▼c  [2020].

• 300

  ▼a  1 online resource (viii, 288 pages):
  ▼b  illustrations, maps.

• 336

  ▼a  text
  ▼b  txt
  ▼2  rdacontent

• 337

  ▼a  computer
  ▼b  c
  ▼2  rdamedia

• 338

  ▼a  online resource
  ▼b  cr
  ▼2  rdacarrier

• 490

  ▼a  Oxford studies in music theory

• 504

  ▼a  Includes bibliographical references and index.

• 520

  ▼a  "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 provided an ideal venue for these experiments: spurred by an increasing demand for comprehensible texts, composers of partsongs developed rigid text setting procedures that promoted both metrical regularity and consistent phrase rhythm. This rhythmic consistency had a ripple effect: it encouraged composers to design symmetrical phrase structures and to build comprehensive, repetitive, and predictable formal structures. Thus, homophonic partsongs create and exploit trajectories from dominants to tonics on multiple scales, from cadence to sub-phrase to phrase to form. Ultimately, this book argues for a model of tonality-and of tonality's history-that centers not pitch, but rhythm and meter. Metrically oriented harmonic trajectories encourage tonal expectation. And we can locate these trajectories in a variety of repertoires, including those that we traditionally understand as "modal." ""--
  ▼c  Provided by publisher.

• 588

  ▼a  Description based on online resource; title from digital title page (viewed on June 17, 2020).

• 590

  ▼a  Master record variable field(s) change: 050

• 648

  ▼a  1500-1699
  ▼2  fast

• 650

  ▼a  Vocal music
  ▼y  16th century
  ▼x  History and criticism.

• 650

  ▼a  Vocal music
  ▼y  16th century
  ▼x  Analysis, appreciation.

• 650

  ▼a  Vocal music
  ▼y  17th century
  ▼x  History and criticism.

• 650

  ▼a  Vocal music
  ▼y  17th century
  ▼x  Analysis, appreciation.

• 650

  ▼a  Vocal music.
  ▼2  fast
  ▼0  (OCoLC)fst01168379

• 650

  ▼a  Vocal music
  ▼x  Analysis, appreciation.
  ▼2  fast
  ▼0  (OCoLC)fst01168380

• 655

  ▼a  Criticism, interpretation, etc.
  ▼2  fast
  ▼0  (OCoLC)fst01411635

• 655

  ▼a  Electronic books.

• 776

  ▼i  Print version:
  ▼a  Long, Megan Kaes.
  ▼t  Hearing homophony.
  ▼d  New York : Oxford University Press, 2020.,
  ▼z  9780190851903
  ▼w  (DLC) 2019044907

• 830

  ▼a  Oxford studies in music theory.

• 852

  ▼a  NA000000
  ▼b  00000140

• 856

  ▼3  EBSCOhost
  ▼u  https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2440720

• 938

  ▼a  ProQuest Ebook Central
  ▼b  EBLB
  ▼n  EBL6176698

• 938

  ▼a  EBSCOhost
  ▼b  EBSC
  ▼n  2440720

• 990

  ▼a  최영란

• 991

  ▼a  eBook

• 994

  ▼a  92
  ▼b  N$T