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LEADER 04053cam 2200457Ii 4500
001
ocn918925010
003
OCoLC
005
20160922122241.0
008
150818s2016 enkg b 001 0 eng d
020
a| 1107134587
020
a| 9781107134584
035
a| (Sirsi) o918925010
035
a| (OCoLC)918925010
040
a| YDXCP
b| eng
e| rda
c| YDXCP
d| OCLCQ
d| BTCTA
d| CDX
d| NLE
d| OCLCO
d| OCLCF
d| VGM
d| CHVBK
d| PIT
d| ERE
d| UtOrBLW
049
a| EREM
050
0
0
a| ML410.B4
b| D26 2016
050
4
a| ML444
b| .D36 2016
082
0
4
a| 781.2/5
2| 23
100
1
a| Damschroder, David,
e| author.
=| ^A273452
245
1
0
a| Harmony in Beethoven /
c| David Damschroder.
260
a| Cambridge, United Kingdom :
b| Cambridge University Press,
c| ©2016.
300
a| xiii, 292 pages :
b| music ;
c| 26 cm
336
a| text
b| txt
2| rdacontent
337
a| unmediated
b| n
2| rdamedia
338
a| volume
b| nc
2| rdacarrier
504
a| Includes bibliographical references (pages 254-289) and indexes.
505
0
0
g| Part I: Methodological orientation.
t| Harmonielehre (The piano sonatas) ;
g| IV as intermediary between I and V ;
g| II as intermediary between I and V ;
g| A detailed look at the circle of fifths ;
g| III on the path from I to V ;
g| The mediant within the orbit of the tonic ;
g| Notable linear initiatives ;
g| Parenthetical passages --
g| Part II:
g| Masterpieces.
t| String Quartet in B-flat major (op. 18, no. 6), La malinconia in response to William J. Mitchell ;
t| Piano Sonata in D minor (op. 31, no. 2, "Tempest"), movement 1 in response to William E. Caplin ;
t| Violin Sonata in A minor [major] (op. 47, "Kreutzer"), movement 1 in response to Janet Schmalfeldt ;
t| Symphony in A major (op. 92), movement 3 in response to Robert Gauldin ;
t| Piano Sonata in E major (op. 109) in response to Nicholas Marston ;
t| String Quartet in A minor (op. 132), movement 1 in response to Frank Samarotto.
520
a| The author's ongoing reformulation of harmonic theory continues with a dynamic exploration of how Beethoven molded and arranged chords to convey bold conceptions. This book's introductory chapters are organized in the manner of a nineteenth-century Harmonielehre, with individual considerations of the tonal system's key features illustrated by easy-to-comprehend block-chord examples derived from Beethoven's piano sonatas. In the masterworks section that follows, the author presents detailed analyses of movements from the symphonies, piano and violin sonatas, and string quartets, and compares his outcomes with those of other analysts, including William E. Caplin, Robert Gauldin, Nicholas Marston, William J. Mitchell, Frank Samarotto, and Janet Schmalfeldt. Expanding upon analytical practices from the eighteenth and nineteenth centuries and strongly influenced by Schenkerian principles, this fresh perspective offers a stark contrast to conventional harmonic analysis--both in terms of how Roman numerals are deployed and how musical processes are described in words.
600
1
0
a| Beethoven, Ludwig van,
d| 1770-1827
x| Harmony.
=| ^A18609
650
0
a| Harmony.
=| ^A22140
600
1
0
a| Beethoven, Ludwig van,
d| 1770-1827.
t| Quartets,
m| violins (2), viola, cello,
n| no. 6, op. 18, no. 6,
r| B♭ major.
=| ^A507127
600
1
0
a| Beethoven, Ludwig van,
d| 1770-1827.
t| Sonatas,
m| piano,
n| no. 17, op. 31, no. 2,
r| D minor.
=| ^A501303
600
1
0
a| Beethoven, Ludwig van,
d| 1770-1827.
t| Sonatas,
m| violin, piano,
n| no. 9, op. 47,
r| A major.
=| ^A499388
600
1
0
a| Beethoven, Ludwig van,
d| 1770-1827.
t| Symphonies,
n| no. 7, op. 92,
r| A major.
=| ^A500464
600
1
0
a| Beethoven, Ludwig van,
d| 1770-1827.
t| Sonatas,
m| piano,
n| no. 30, op. 109,
r| E major.
=| ^A500116
600
1
0
a| Beethoven, Ludwig van,
d| 1770-1827.
t| Quartets,
m| violins (2), viola, cello,
n| no. 15, op. 132,
r| A minor.
=| ^A620281
949
o| jcdh
994
a| C0
b| ERE
596
a| 3
998
a| 4511155
999
a| ML410.B4 D26 2016
w| LC
c| 1
i| 30372016892744
d| 12/1/2023
e| 5/9/2023
f| 8/16/2023
g| 2
l| MST
m| JMUSIC
n| 1
q| 1
r| Y
s| Y
t| MGESBK
u| 9/22/2016
x| BOOK
z| MCIRC
o| .STAFF. jcdh; enhanced changed call number from ML444 D36 to ML410.B4 D26 10/31/22 -jjab