Organized time : rhythm, tonality, and form / Jason Yust.

Format:

Book

Author/Creator:

Yust, Jason, author.

Series:

Oxford studies in music theory

Language:

English

Subjects (All):

Musical meter and rhythm.

Musical form.

Musical analysis.

Physical Description:

x, 423 pages : illustrations, music ; 26 cm.

Place of Publication:

New York, NY : Oxford University Press, [2018]

Contents:

1 Rhythmic Hierarchy and the Network Model p. 12

1.1 Metrical and Rhythmic Structures as Temporal Hierarchies p. 12

1.2 Rhythmic Classes and Transformations p. 16

1.3 Inferring Rhythmic Hierarchies p. 19

1.4 Metricality p. 24

2 Tonal Structure p. 28

2.1 Melodic Structure p. 29

2.3 Repetition p. 43

2.4 Keys p. 47

2.5 Tonal Models for Binary Forms p. 53

3 Formal Structure p. 59

3.1 Elements of Form: Repetition, Contrast, Fragmentation p. 60

3.2 Small Baroque Forms p. 67

3.3 Expositions and the Secondary Theme p. 70

3.4 Interactions of Form and Tonal Structure p. 81

4 Structural Networks and the Experience of Musical Time p. 91

4.1 Depth, Distance, and Classification of Structural Shapes p. 91

4.2 A Phenomenology of Structure p. 98

4.3 Center, Skew, and Bias p. 103

4.4 Splitting and Disjunction p. 105

5 Timespan Intervals p. 109

5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue p. 110

5.2 Classification of Timespan Intervals p. 113

5.3 Hypermetrical Hemiola in a Bach Prelude p. 115

5.4 Transformations of Rhythmic Structures p. 118

6 Hypermeter p. 123

6.1 Hypermeter in the Eye of the Beholder p. 123

6.2 Some Criteria for Hypermetrical Analyses p. 126

6.3 Functions of Hypermetrical Shift in Haydn's Symphonies p. 133

6.4 Indefinite Hypermeter and Hypermetrical Reinterpretation p. 140

7 Hypermeter, Form, and Closure p. 145

7.1 Hypermetrical Placement in Cadential Syntax p. 146

7.2 Mozart's Afterbeat Melodic Ideas p. 151

7.3 Main Theme Endings in Haydn's Symphonies p. 159

7.4 Elided Cadences and Expositional Closure p. 162

7.5 Beethoven's Open Expositions p. 170

8 Syncopation p. 177

8.1 Contrapuntal and Tonal versus Structural Syncopation p. 178

8.2 Contrapuntal Syncopation and Metrical Dissonance p. 180

8.3 Hypermetrical Syncopation and Contrapuntal Displacement p. 188

8.4 Rhythmic Process as Formal Process in Beethoven p. 191

9 Counterpoint p. 203

9.1 Rhythmic Counterpoint p. 203

9.2 Brahms's Use of Rhythmic Irregularity and Rhythmic Counterpoint p. 208

9.3 Counterpoint of Tonal Structures p. 219

9.4 Formal Counterpoint p. 225

10 Harmony Simplified p. 232

10.1 Harmonic Syntax and Structure p. 232

10.2 Voice leading on the Tonnetz p. 243

10.3 Enharmonicism p. 250

11 Reforming Formal Analysis p. 266

11.1 Tonal-Formal Disjunction and the Phrase p. 266

11.2 Ritornello Form in the Eighteenth-Century Symphony p. 269

11.3 Form(s) and Recipes p. 282

11.4 Beyond the Frame p. 290

12 Tonal-Formal Disjunction p. 309

12.1 High-Level Tonal-Formal Disjunction in Sonata Form p. 309

12.2 Alternate Subordinate Keys p. 311

12.3 Disjunction in the Exposition: Modulating Subordinate Themes p. 320

12.4 Off-Tonic Recapitulations p. 327

13 Graph Theory for Temporal Structure p. 342

13.1 Planarity and Cycles p. 342

13.2 Direction and Confluence p. 347

13.3 Holes p. 352

13.4 MOPs as Trees p. 353

13.5 Reduction Trees, Event Trees, and Spanning Trees over MOPs p. 359

13.6 Spanning Trees and the Cycle/Edge-Cut Algebras p. 363

14 A Geometry of Temporal Structure p. 373

14.1 Associahedra p. 373

14.2 Higher Dimensional Associahedra and their Facets p. 381

14.3 Evenness p. 387.

Notes:

Includes bibliographical references and index.

ISBN:

9780190696481

0190696486

OCLC:

1020027442

Publisher Number:

99977345778