Tonality: An Owner's Manual

Contents

• Preface and Acknowledgements
• 1. Implicit musical knowledge
• 1. Gesualdo's trick
• 2. The quadruple hierarchy
• 3. Philosophy
• 4. Statistics
• 5. Schema
• 6. Outline
• Prelude: transposition along a collection
• 2. Rock logic
• 1. A melodic principle
• 2. A harmonic principle
• 3. A first chord-loop family
• 4. Two more families
• 5. Shepard-tone passacaglias
• 6. Minor triads and other trichords
• 7. A fourth family
• 8. Other modalities
• 9. Function and retrofunction
• 10. Continuity or reinvention?
• Prelude: the Tinctoris transform
• 3. Line and configuration
• 1. The imperfect system
• 2. Voice exchanges
• 3. Other intervals
• 4. The circle of diatonic triads
• 5. Voice exchanges and multiple chord types
• 6. Four-voice triadic counterpoint
• 7. Counterpoint within the chord
• 8. Seventh chords
• 9. Harmony and counterpoint
• Prelude: sequence and function
• 4. Repetition
• 1. Repetition reimagined
• 2. Repeating contrapuntal patterns
• 3. The geometry of two-voice sequences
• 4. Three voices and the circle of triads
• 5. Three voices arranged 2+1
• 6. Four voices
• 7. Contrary-motion sequences
• 8. Melodic sequences and near sequences
• 9. Near sequences
• 10. Sequences as reductional targets
• Prelude: three varieties of analytical reduction
• 5. Nonharmonic tones
• 1. The first practice and the SNAP system
• 2. Schoenberg's critique
• 3. Monteverdi's Ohime
• 4. The standardized second practice
• 5. A loophole
• 6. After nonharmonicity
• Prelude: functional and scale-degree analysis
• 6. The origins of functional harmony
• 1. The logical structure of protofunctionality
• 2. Similarities and differences
• 3. Origin and meaning
• 4. Harmony and polyphony
• 5. The Pope Marcellus Kyrie
• 6. A broader perspective
• 7. I Cannot Follow
• Prelude: could the Martians understand our music?
• 7. Functional progressions
• 1. A theory of harmonic cycles
• 2. A more principled view
• 3. Rameau and Bach
• 4. Functional melody, functional harmony
• 5. Fauxbourdon and linear idioms
• 6. Sequences
• 7. Bach the dualist
• Prelude: chromatic or diatonic?
• 8. Modulation
• 1. Two models of key distance
• 2. Enharmonicism and loops in scale space
• 3. Minor keys
• 4. Modulatory schemas
• 5. Up and down the ladder
• 6. Modal homogenization and scalar voice leading
• 7. Generalized set theory
• Prelude: hearing and hearing-as
• 9. Melodic strategies
• 1. Strategy and reduction
• 2. Two models of the phrase
• 3. Chopin and the Prime Directive
• 4. An expanded vocabulary of melodic templates
• 5. Simple harmonic hierarchy
• 6. The four-part phrase
• 7. Grouping, melody, harmony
• 8. Beyond the phrase: hierarchy at the level of the piece
• Prelude: why Beethoven?
• 10. Beethoven theorist
• 1. Meet the Ludwig
• 2. From schema to flow
• 3. The Tempest
• 4. The Fifth Symphony
• 5. The Pastorale sonata, op. 28
• 6. Schubert's Quartettsatz
• 7. The prelude to Lohengrin
• 11. Conclusion
• 12. Appendix 1: Fundamentals
• 13. Appendix 2: Deriving the spiral diagrams
• 14. Appendix 3: From sequence to transformation
• 15. Appendix 4: Music theory and corpus analysis
• Terms and Abbreviations
• Bibliography