Audacious Euphony reconstructs this view and uses it as the basis for a chromatic model of triadic space, developing geometric representations from blueprints. Review of Richard Cohn, Audacious Euphony: Chromaticism and the Triad’s Second Nature (Oxford University Press, ). Audacious Euphony has 22 ratings and 0 reviews. Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diaton.
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Lucid and engagingly written, this book is indispensable reading for music theorists and indeed for anyone deeply interested in 19th-century chromatic harmony.
Cohn edits the Oxford Studies in Music Theory series. The most impressive analytical rewards come in his discussion of transformational substitutions, which draw on the voice-leading properties of Weitzmann and Hexatonic regions to make compelling analyses of sequence-like progressions in Chopin, Brahms, Bruckner, and Liszt.
Thanks for telling us about the problem. They are of limited applicability since they require isolated passages built out of a purely chromatic logic and avoiding dissonant chords, but such analyses can be quite auadcious in their restricted scope because they provide a relatively comprehensive account.
Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature
In doing so, he shows that major and minor triads have two distinct natures: It lights up as never before the universe of triads domesticated in nineteenth-century chromatic music. Jacob marked it as to-read May 08, Chris Shaver marked it as to-read May 20, Chapter Four Weitzmann Regions.
Ben rated it liked it Sep 10, It is also more prominent in some chapters than others. Audacious Euphony Chromatic Harmony and the Triad’s Second Nature Richard Cohn Oxford Studies in Music Theory A new and controversial theory of 19th-century harmony A systematic development of a historical model A new explanation for why 19th-century music is affiliated with the supernatural Features a companion website with expanded transcriptions.
Laynibus Vandersex added it Oct 24, Eric marked it as to-read Apr 05, Chapter 7 gives two answers to the question of how to extend insights about triadic relationships to larger chords. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century.
As such, it will frame the continuing debate about nineteenth-century chromaticism and be an essential reference point for the non-integrationist perspective. Stuart Duncan rated it it was amazing Mar 21, Jon Brantingham rated it it was amazing Dec 11, My library Help Advanced Book Search. Hardcoverpages. Jack Bussert marked it as to-read Feb 15, This is a non-trivial fact: Chris marked it as to-read Feb 18, The model renders coherent many passages of romantic music e.
Patrick rated it really liked it Sep 15, Don’t have an account? Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they relate to one another. Yet this move also underscores the fact that group-theoretic abstraction is not essential to any of the sophisticated theories and analytical techniques Cohn develops in the book. Dale Zhou marked it as to-read Jul 14, Classical, Early, and Medieval Plays and Playwrights: While many of the essential concepts and analytical tools have been developed in previous scholarship, this book successfully unifies and expands upon these diverse ideas, providing the reader with a theoretically rigorous and historically informed approach to understanding the complex harmonic innovations of the long nineteenth century.
In Audacious Euphonyauthor Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century.
Audacious Euphony – Richard Cohn – Oxford University Press
Classical, Early, and Medieval World History: Studies in Music with Text David Lewin. In doing so, he shows that major and minor triads have two distinct natures: The coordination of analyses with performances encourages us to perceive the harmonic moves as eupony delineated actions and gestures. Post-structuralist musicologists have challenged this belief, audadious the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse.
Post-structuralist musicologists have challenged this belief, Wagner and Brahms 9.
Chapter 2 introduces hexatonic regions, the topic of Cohnwhile chapters 3 and 4 develop the idea of Weitzmann regions as ajdacious to hexatonic regions, the subject of Cohn Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century.
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Adam marked audaxious as to-read Jan 22, The online component is not essential; the reader without a computer handy will be able to follow the text throughout.