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BL
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| Record Number
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873324
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| Main Entry
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Yust, Jason
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| Title & Author
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Organized time : : rhythm, tonality, and form /\ Jason Yust.
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| Publication Statement
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New York, NY :: Oxford University Press,, 2018.
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| Series Statement
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Oxford studies in music theory
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| Page. NO
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1 online resource
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| ISBN
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0190696494
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: 0190696516
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: 9780190696498
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: 9780190696511
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0190696486
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0190696516
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9780190696481
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| Bibliographies/Indexes
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Includes bibliographical references and index.
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| Contents
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Cover; Series; Organized Time; Copyright; Dedication; Contents; Acknowledgments; Introduction; Time and Landscape; Dimension; 1 Rhythmic Hierarchy and the Network Model; 1.1 Metrical and Rhythmic Structures as Temporal Hierarchies; 1.2 Rhythmic Classes and Transformations; 1.3 Inferring Rhythmic Hierarchies; 1.4 Metricality; 2 Tonal Structure; 2.1 Melodic Structure; 2.2 Backgrounds; 2.3 Repetition; 2.4 Keys; 2.5 Tonal Models for Binary Forms; 3 Formal Structure; 3.1 Elements of Form: Repetition, Contrast, Fragmentation; 3.2 Small Baroque Forms; 3.3 Expositions and the Secondary Theme
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12.1 High-Level Tonal-Formal Disjunction in Sonata Form12.2 Alternate Subordinate Keys; 12.3 Disjunction in the Exposition: Modulating Subordinate Themes; 12.4 Off-Tonic Recapitulations; 13 Graph Theory for Temporal Structure; 13.1 Planarity and Cycles; 13.2 Direction and Confluence; 13.3 Holes; 13.4 MOPs as Trees; 13.5 Reduction Trees, Event Trees, and Spanning Trees over MOPs; 13.6 Spanning Trees and the Cycle/Edge-Cut Algebras; 14 A Geometry of Temporal Structure; 14.1 Associahedra; 14.2 Higher Dimensional Associahedra and their Facets; 14.3 Evenness; Epilogue; Bibliography
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3.4 Interactions of Form and Tonal Structure4 Structural Networks and the Experience of Musical Time; 4.1 Depth, Distance, and Classification of Structural Shapes; 4.2 A Phenomenology of Structure; 4.3 Center, Skew, and Bias; 4.4 Splitting and Disjunction; 5 Timespan Intervals; 5.1 Large-Scale Rhythmic Design in Bach's F Minor Fugue; 5.2 Classification of Timespan Intervals; 5.3 Hypermetrical Hemiola in a Bach Prelude; 5.4 Transformations of Rhythmic Structures; 6 Hypermeter; 6.1 Hypermeter in the Eye of the Beholder; 6.2 Some Criteria for Hypermetrical Analyses
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6.3 Functions of Hypermetrical Shift in Haydn's Symphonies6.4 Indefinite Hypermeter and Hypermetrical Reinterpretation; 7 Hypermeter, Form, and Closure; 7.1 Hypermetrical 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; 8 Syncopation; 8.1 Contrapuntal and Tonal versus Structural Syncopation; 8.2 Contrapuntal Syncopation and Metrical Dissonance; 8.3 Hypermetrical Syncopation and Contrapuntal Displacement
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8.4 Rhythmic Process as Formal Process in Beethoven9 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; 10 Harmony Simplified; 10.1 Harmonic Syntax and Structure; 10.2 Voice leading on the Tonnetz; 10.3 Enharmonicism; 11 Reforming Formal Analysis; 11.1 Tonal-Formal Disjunction and the Phrase; 11.2 Ritornello Form in the Eighteenth-Century Symphony; 11.3 Form(s) and Recipes; 11.4 Beyond the Frame; 12 Tonal-Formal Disjunction
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| Abstract
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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.
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| Subject
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Musical analysis.
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Musical form.
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Musical meter and rhythm.
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MUSIC-- Instruction Study-- Theory.
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Musical analysis.
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Musical form.
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Musical meter and rhythm.
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| Dewey Classification
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781.2/2
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| LC Classification
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ML3850.Y87 2018eb
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