Tonality 1900–1950 (eBook)

Contents 6
Contributors 8
Introduction 12
Tonality as Concept and Category 24
Weighing, Measuring, Embalming Tonality: How we Became Phonometrographers 26
Peter, the Wolf, and the Hexatonic Uncanny 48
The Legacy of German Rule – Some Reflections on Another Musical Iceberg in the Transatlantic Relationships of Music History 64
Concepts of T onality in Hindemith’s Unterweisung im Tonsatz and in His Late Writings 82
Tonality in Austro-German Theory 98
Concepts of Tonality in Schoenberg’s Harmonielehre 100
Schoenberg’s Harmonielehre: Psychology and Comprehensibility 114
Construc tive and Destructive Forces: Ernst Kurth’s Concept of Tonality 126
Practices of Tonality 142
Defending Tonality: The Musical Thought of Milhaud and Koechlin 144
“Autant de compositeurs, autant de polytonalités différentes”: Polytonality in French Music Theory and Composition of the 1920s 158
Nocturne in Blue, Black and Poppy Red: Tonal and Formal Dramaturgy in the third movement of Ravel’s Sonate pour violon et violoncelle 174
Tonality on the Town: Orchestrating the Metropolis in Vaughan Williams’s A London Symphony 188
Between Archaism and Modernism: Tonality in Music for Amateurs in Germany around 1930 204
Among the Ruined Languages: Britten’s Triadic Modernism, 1930–1940 224
Roy Harris and the Crisis of Consonance 248
Samuel Barber’s Nocturne: An Experiment in Tonal Serialism 262