MARC Record from marc_columbia

LEADER: 04281cam a2200613Mi 4500
001 16888181
005 20221112232740.0
006 m o d
007 cr |||||||||||
008 170817s2017 xx gob 001 0 eng d
035 $a(OCoLC)on1001961407
035 $a(NNC)16888181
040 $aNLE$beng$erda$epn$cNLE$dOTZ$dNLE$dOCLCO$dOCLCF$dOCLCQ$dAU@$dUKMGB$dOCLCQ$dUWO$dTYFRS$dOCLCQ$dOCLCO
015 $aGBB7N7185$2bnb
016 7 $a018472570$2Uk
019 $a1006802427$a1069676290
020 $a9781351578134$q(EPUB)
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020 $a9781315097787
020 $a1315097788
020 $a9781351578141$q(e-book ;$qPDF)$q(e-book ;$qPDF)
020 $a1351578146
020 $a9781351578127$q(e-book ;$qMobi)
020 $a135157812X
020 $z9780754663850$q(hardback)
020 $z9781138250932$q(paperback)
024 7 $a10.4324/9781315097787$2doi
035 $a(OCoLC)1001961407$z(OCoLC)1006802427$z(OCoLC)1069676290
037 $a9781351578134$bIngram Content Group
050 4 $aML444$b.E455 2017
082 04 $a781.252$222
049 $aZCUA
100 1 $aEllis, Mark,$eauthor.
245 12 $aA Chord in Time :$bthe Evolution of the Augmented Sixth from Monteverdi to Mahler /$cMark Ellis.
250 $a1st
264 1 $bRoutledge,$c2017.
300 $a1 online resource (268 pages)
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
520 2 $a"For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the sonority emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. In the Baroque period, the 'terrible dissonance' was nearly always associated with negative textual imagery. Charpentier described the augmented sixth as 'poignantly expressive'. J.S. Bach considered an occurrence of the chord in one of his forebear's motets 'remarkably bold'. During Bach's composing lifetime, the augmented sixth evolved from a relatively rare chromaticism to an almost commonplace element within the tonal spectrum; the chord reflects particular chronological and stylistic strata in his music. Theorists began cautiously to accept the chord, but its inversional possibilities proved particularly contentious, as commentaries by writers as diverse as Muffat, Marpurg and Rousseau reveal. During the eighteenth century, the augmented sixth became increasingly significant in instrumental repertoires - it was perhaps Vivaldi who first liberated the chord from its negative textual associations. By the later eighteenth century, the chord began to function almost as a 'signpost' to indicate important structural boundaries within sonata form. The chord did not, however, entirely lose its darker undertone: it signifies, for example, the theme of revenge in Mozart's Don Giovanni. Romantic composers uncovered far-reaching tonal ambiguities inherent in the augmented sixth. Chopin's Nocturnes often seem beguilingly simple, but the surface tranquillity masks the composer's strikingly original harmonic experiments. Wagner's much-analyzed 'Tristan Chord' resolves (according to some theorists) on an augmented sixth. In Tristan und Isolde, the chord's mercurial"--Provided by publisher
505 0 $aKey concepts -- Natural selection -- Painted words -- Harmony and invention -- The augmented sixth in Bach's music -- The science of composition -- Classical contexts -- Triumph and ambiguity -- Swansong.
504 $aIncludes bibliographical references and index.
650 0 $aChords (Music)
650 0 $aHarmony$xHistory.
650 6 $aAccords (Musique)
650 6 $aHarmonie$xHistoire.
650 7 $aChords (Music)$2fast$0(OCoLC)fst00858593
650 7 $aHarmony.$2fast$0(OCoLC)fst00951531
655 4 $aElectronic books.
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $z9781315097787$z9781351578141
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio16888181$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS