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Zusatztext Astonishing in both its ambition and its achievement. [Organized Time] offers a theory of tonal music that treats harmony, rhythm, and form as separate dimensions that might either reinforce or contradict each other, providing an appealing notation system that permits direct comparison of these dimensions. It profoundly rethinks aspects of tonal theory that we had thought pretty well settled. The theoretical framework is powerful and the analyses-of both familiar and unfamiliar tonal works-are deeply revealing. Informationen zum Autor Jason Yust is Assistant Professor of Music Theory at Boston University. Born in St. Louis, Missouri, he received a BA in Music at Brown University and a PhD in Music Theory from the University of Washington. His research interests include mathematical theories of harmonic space; metrical, tonal, and formal structure in tonal music; and music perception and cognition. Klappentext Organized Time is the first attempt to unite theories of harmony! rhythm! and form under a common idea of structured time. This is a major advance in the field of music theory! leading to new theoretical approaches to topics such as closure! hypermeter! and formal function. Zusammenfassung Organized Time is the first attempt to unite theories of harmony, rhythm, and form under a common idea of structured time. This is a major advance in the field of music theory, leading to new theoretical approaches to topics such as closure, hypermeter, and formal function. Inhaltsverzeichnis Contents Introduction Time and Landscape Dimension Chapter 1: Rhythmic Hierarchy and the Network Model 1.1 Metric and Rhythmic Structures as Temporal Hierarchies 1.2 Rhythmic Classes and Transformations 1.3 Inferring Rhythmic Hierarchies 1.4 Metricality Chapter 2: Tonal Structure 2.1 Melodic Structure 2.2 Backgrounds 2.3 Repetition 2.4 Keys 2.5 Tonal Models for Binary Forms Chapter 3: Formal Structure 3.1 Elements of Form: Repetition, Contrast, Fragmentation 3.2 Small Baroque Forms 3.3 Expositions and the Secondary Theme 3.4 Interactions of Form and Tonal Structure Chapter 4: Structural Networks and the Experience of Musical Time 4.1 Depth, Distance, and the Classification of Structural Shapes 4.2 A Phenomenology of Structure 4.3 Center, Skew, and Bias 4.4 Splitting and Disjunction Chapter 5: Timespan Intervals 5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue 5.2 Classification of Timespan Intervals 5.3 Hypermetric Hemiola in a Bach Prelude 5.4 Transformations of Rhythmic Structures Chapter 6: Hypermeter 6.1 Hypermeter in the Eye of the Beholder 6.2 Some Criteria for Hypermetric Analysis 6.3 Functions of Hypermetric Shift in Haydn's Symphonies 6.4 Indefinite Hypermeter and Hypermetric Reinterpretation Chapter 7: Hypermeter, Form, and Closure 7.1 Hypermetric Placement in Cadential Syntax 7.2 Mozart's Afterbeat Melodic Ideas 7.3 Main Theme Endings in Haydn's Symphonies 7.4 Elided Cadences and Expositional Closure 7.5 Beethoven's Open Expositions Chapter 8: Syncopation 8.1 Contrapuntal and Tonal versus Structural Syncopation 8.2 Contrapuntal Syncopation and Metrical Dissonance 8.3 Hypermetric Syncopation and Contrapuntal Displacement 8.4 Rhythmic Process as Formal Process in Beethoven Chapter 9: Counterpoint 9.1 Rhythmic Counterpoint 9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint 9.3 Counterpoint of Tonal Structures 9.4 Formal Counterpoint Chapter 10: Harmony Simplified 10.1 Harmonic Syntax and Structure 10.2 Voice Leading on the Tonnetz 10.3 Enharmonicism Chapter 11: Reforming Formal Analysis 11.1 Tonal Disjunction and the Phrase 11.2 Ritornello Form in the Eighteenth-Century Symphony 11.3 Form(s) and Recipes 11.4 Outside th...
