By Felix Salzer
Heinrich Schenker's nice contribution was once the invention of primary rules of tonal association, continuity, and coherence. In idea he used to be the 1st to outline those natural forces of the musical language, relatively the tonal features and relationships which shape either the generative and cohesive forces of serious music.
This set, that is a customary paintings utilized in all vital song colleges, begins with easy definitions and easy examples, and trains the reader not just to listen to successions of tones, melodic traces, and progressions of chords, but in addition to appreciate their structural coherence and importance. it really is priceless for musicians and for all who're heavily attracted to tune, no matter if as a pupil, critic, performer, or conductor.
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Extra resources for Structural hearing : tonal coherence in music
Henderson, Romantic Identities: Varieties of Subjectivity, 1774–1830 (Cambridge: Cambridge University Press, 1996). 37 In choosing these figures, then, I want to ask a group of related questions about listening as both a culturally projected idea and a stubbornly ahistorical material practice. How might the Frühromantiker have made recourse to the image of listening and the listener? What kinds of cultural work did these commentators think listening could undertake? How might they have construed the practice of listening vis-à-vis other forms of consumption?
As we saw in the Introduction, there is something profoundly consistent in bourgeois attempts to territorialize their culture as self-sustaining, the site of an ideal withdrawal. The religiosity of attitudes to high cultural consumption in Wackenroder et al. is symptomatic, then, of a mode of production, like our own bourgeois cultural consumption, designed to differentiate its consumption from other kinds of wealth display (aristocratic, venal, vulgar). Indeed, for Norbert Elias the ‘history of manners’ in the Austro-German context is also the history precisely of a class territorialization: What legitimises the eighteenth-century [German] intelligentsia to itself, what supplies the foundation of its self-image and pride, is situated beyond economics and politics.
Listening construed in this manner is thus both a way of being in the world and of remaking that world. One of the key ‘technologies’ of listening in the German urban Frühromantik was constituted in the built environment; urban spaces could be read both as expressions of the social imagination and as instrumental to it. Taking up Kittler’s invitation to a radically culturalist articulation, architecture and the planned urban spaces of the major cities of the German-speaking lands can be said to have joined public and private spaces into a uninterrupted continuum and worked as a crucial operator in what Daniel Leonhard Purdy has characterized as the bourgeois ‘semiotic system’.
Structural hearing : tonal coherence in music by Felix Salzer