Bøker i OXFORD STUDIES IN MUSIC THEORY-serien

Focusing on the period of most intense metric experimentation in the work of both Haydn and Mozart, author Danuta Mirka presents here a systematic discussion of the composers' metric strategies. Combining historical music theory with the cognitive study of music, Mirka's award-winning book sheds new light on this repertoire and redefines the role of meter and rhythm in Classical music.

Wide-ranging in scope, and with almost 700 musical examples from the Middle Ages to the present day, Tonality: An Owner's Manual weaves philosophy, mathematics, statistics, and computational analysis into a new and truly twenty-first century theory of music. It proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tonal harmony, the grammar of tonal harmony, modulation, and melody.

How Sonata Forms proposes a new bottom-up conceptualization of the history of the sonata as an aggregation of distinct elements found throughout the eighteenth century.

Over the last century tonality has adapted and persisted in remarkable ways. In Pieces of Tradition, Daniel Harrison explores the modern endurance of tonal music, examining works by masters such as Shostakovich and Hindemith alongside music by Leonard Bernstein and Brian Wilson.

Exploring Musical Spaces is a comprehensive synthesis of mathematical techniques in music theory, written with the aim of making these techniques accessible to music scholars without extensive prior training in mathematics.

Hypermetric Manipulations in Haydn and Mozart offers a systematic classification of hypermetrical irregularities in relation to phrase structure. It also offers a comprehensive account of the ways in which phrase structure and hypermeter were described by eighteenth-century music theorists, conceived by eighteenth-century composers, and perceived by eighteenth-century listeners.

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.

Foundations of Musical Grammar makes a unique contribution to music theory by building on recent research in cognitive science and theoretical perspectives adopted from cognitive linguistics to present an account of the foundations of musical grammar. In presenting this account, it engages with music and the emotions, gesture, and social dance.

Form as Harmony in Rock Music investigates the formal-harmonic structures of classic rock of the 1960s, 70s, and 80s, demonstrating how artists across decades and genres have unified under similar compositional structures and a single musical style.

A compelling approach among works on temporality, phenomenology, and the ecologies of the new sound worlds, Enacting Musical Time argues that musical time is itself the site of the interaction between musical sounds and a situated, embodied listener, created by the moving bodies of participants engaged in musical activities.

Performing Knowledge explores the relationship between musical performance and analysis through a unique collaboration between a music theorist and a cast of internationally renowned performers, investigating major musical works of the twentieth century¿Ravel, Schoenberg, Bart¿k, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris. The book is a brave crossing of disciplinary divides between scholarship and practice, a theory text enlivened bythe voices of performers who create, interpret, and articulate structure.

Beating Time and Measuring Music in the Early Modern Era chronicles the interdependent theories of time and meter that prevailed in the fields of music and science between 1500 and 1830. It examines the dramatic shift in the conceptualization of time that took place during the eighteenth century, and explains the profound impact this had on the ways in which musicians understood meter, character, and tempo, as well as the ways in which this change forms thebasis for the modern conception of time in music.

This philosophically-inspired approach to the perception of form in early nineteenth-century music invites listeners and especially performers to assess and participate in the interpretation of transformative formal processes as they unfold in time. It proposes new ways of hearing beloved works of the romantic generation as representative of their striving for novel, intensely self-reflective modes of communication.

Kofi Agawu's Music as Discourse has become a standard and definitive work in musical semiotics. Working at the nexus of musicology, ethnomusicology, and music philosophy and aesthetics, Agawu presents a synthetic and innovative approach to musical meaning which argues deftly for the thinking of music as a discourse in itself-composed not only of sequences of gestures, phrases, or progressions, but rather also of the very philosophical and linguistic propsthat enable the analytical formulations made about music as an object of study.

Sweet Thing: The History and Musical Structure of a Shared American Vernacular Form offers readers a comprehensive new perspective on a musical scheme shared by broadside ballads and experimental rock songs alike.

Reconstructing historical conceptions of harmonic distance, Audacious Euphony advances a geometric model appropriate to understanding triadic progressions characteristic of 19th-century music. Rick Cohn uncovers the source of the indeterminacy and uncanniness of romantic music, as he focuses on the slippage between chromatic and diatonic progressions and the systematic principles under which each operate.

Tonality and Transformation employs transformational music theory to illuminate diverse aspects of tonal hearing-from the infusion of sounding pitches with familiar tonal qualities to sensations of directedness and attraction. The book introduces many new analytical techniques, which are employed in vivid interpretive set pieces treating music from Bach to Mahler.

Mahler's Symphonic Sonatas investigates Gustav Mahler's dynamic and career-long engagement with sonata-allegro form.

Combining historical music theory with the cognitive study of music, Playing with Meter traces metric manipulations and strategies in Haydn and Mozart's string chamber music from 1787 to 1791. Her analysis shed new light on this repertoire and redefine the role of meter and rhythm in Classical music.

A Blaze of Light in Every Word presents a new conceptual model for analyzing vocal delivery, bringing clarity to the relationship between the singing voice in pop music and its greater emotional signification for listeners.

In Hearing Homophony, Megan Kaes Long presents a groundbreaking model for understanding tonality and its origins, examining it through the lens of popular songs of late-Renaissance Western Europe.

Combining David Lewin's articles on song and opera with chapters on songs of Brahms, Robert Schumann, Clara Schumann, and Milton Babbitt, this collection constitutes a statement concerning the methodological problems associated with interpretation of texted music.

Beating Time and Measuring Music in the Early Modern Era chronicles the interdependent theories of time and meter that prevailed in the fields of music and science between 1500 and 1830.

In this groundbreaking book, Tymoczko uses contemporary geometry to provide a new framework for thinking about music, one that emphasizes the commonalities among styles from Medieval polyphony to contemporary jazz.

Music at Hand shows how sound, action, and perception are connected in instrumental performance, asking how this integration affects listening, improvisation, and composition. Traversing disciplinary boundaries and diverse musical styles, this innovative book analyzes forms of musical experience that are both embodied and conditioned by technology.

Flow theorizes the rhythm of the rapping voice at the intersection of music, speech, and poetry. Author Mitchell Ohriner addresses pressing questions in theories of musical rhythm and meter through a combination of computational music analysis and humanistic close reading.