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Charles-Simon Catel's Treatise on Harmony and the Disciplining of Harmony at the Early Paris Conservatory traces the formation of the discipline of harmony at the early Paris Conservatory, focusing on the 1801 treatise of Charles-Simon Catel. By examining the forces that shaped Catel's text, Michael J. Masci reconstitutes the contours of the dynamic "disciplinary network" that determined the content and scope of the study of harmony in Paris, expanding our understanding of practical harmony traditions.
Charles-Simon Catel's Treatise on Harmony and the Disciplining of Harmony at the Early Paris Conservatory traces the formation of the discipline of harmony at the early Paris Conservatory, focusing on the 1801 treatise of Charles-Simon Catel. By examining the forces that shaped Catel's text, Michael J. Masci reconstitutes the contours of the dynamic "disciplinary network" that determined the content and scope of the study of harmony in Paris, expanding our understanding of practical harmony traditions.
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Autorenporträt
Michael J. Masci is associate professor of Music Theory at SUNY Geneseo, where he teaches courses in harmony, music analysis, and the aesthetics of modernism.
Inhaltsangabe
Contents Note on Figured-Bass Symbols Acknowledgments Introduction: Harmony as Discipline I. Institutional Power and Disciplinary Pretexts Chapter 1. The Institutional Authorization of Catel's Harmonic Theory and the Reconciliation of Fundamental Bass Theory with Figured Bass Practice Chapter 2. The Institutional Sources of Catel's (Contested) Authority II. The Cours d'Harmonie as Coordination of Disciplinary Technologies Chapter 3. Disciplinary Networks: Sources and Structures of the Cours d'Harmonie Chapter 4. Reconstructing the Theory, Pedagogy, and Method of the Early Cours d'Harmonie Chapter 5. Harmony's Boundaries and the Internalization of Disciplinary Norms III. The Transmission and Midcentury Revision of Disciplinary (and Generic) Structures Chapter 6. Tonalité, Modulation, and Alteration: Catel Reception at Midcentury Chapter 7. Tonal Redaction as Generic Convention in the Traité Complet Théorique et Pratique Conclusion Appendix A. Common Marches Appendix B. Common Broderies Appendix C. Common Cadences Bibliography About the Author
Contents Note on Figured-Bass Symbols Acknowledgments Introduction: Harmony as Discipline I. Institutional Power and Disciplinary Pretexts Chapter 1. The Institutional Authorization of Catel's Harmonic Theory and the Reconciliation of Fundamental Bass Theory with Figured Bass Practice Chapter 2. The Institutional Sources of Catel's (Contested) Authority II. The Cours d'Harmonie as Coordination of Disciplinary Technologies Chapter 3. Disciplinary Networks: Sources and Structures of the Cours d'Harmonie Chapter 4. Reconstructing the Theory, Pedagogy, and Method of the Early Cours d'Harmonie Chapter 5. Harmony's Boundaries and the Internalization of Disciplinary Norms III. The Transmission and Midcentury Revision of Disciplinary (and Generic) Structures Chapter 6. Tonalité, Modulation, and Alteration: Catel Reception at Midcentury Chapter 7. Tonal Redaction as Generic Convention in the Traité Complet Théorique et Pratique Conclusion Appendix A. Common Marches Appendix B. Common Broderies Appendix C. Common Cadences Bibliography About the Author
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