Harmony

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Condition:
Very Good
“Creases on front & Back cover, Slight cover and edge wear, Name 1st page,”
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eBay item number:157408172580
Last updated on Oct 23, 2025 03:27:01 SGTView all revisionsView all revisions

Item specifics

Condition
Very Good
A book that has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear. See all condition definitionsopens in a new window or tab
Seller Notes
“Creases on front & Back cover, Slight cover and edge wear, Name 1st page,”
ISBN
9780226737348
Category

About this product

Product Identifiers

Publisher
University of Chicago Press
ISBN-10
0226737349
ISBN-13
9780226737348
eBay Product ID (ePID)
83898

Product Key Features

Number of Pages
394 Pages
Language
English
Publication Name
Harmony
Subject
General, Instruction & Study / Theory
Publication Year
1980
Type
Textbook
Subject Area
Music
Author
Heinrich Schenker
Format
Trade Paperback

Dimensions

Item Height
1.1 in
Item Weight
20 Oz
Item Length
8.8 in
Item Width
5.9 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
54-011213
Dewey Edition
19
Illustrated
Yes
Dewey Decimal
781
Table Of Content
PART I - THEORETICAL APPLICATION DIVISION Tonal Systems: Their Origin and Differentiation with Regard to Position and Purity SECTION I - The Origin of Tonal Systems I THE NATURAL TONAL SYSTEM (MAJOR) (~~ 1-19) II THE ARTIFICIAL TONAL SYSTEM (MINOR) (~~ 20-25) III THE OTHER SYSTEMS (CHURCH MODES) (~~ 26-30) SECTION - II The Differentiation of the Tonal System with Regard to Position and Purity I TRANSPOSITIONS (~~ 3I-37) II COMBINATIONS (~~ 38-52) DIVISION - II Theory of Intervals and Harmonies SECTION - I Theory of Intervals I THE CONSTRUCTION OF INTERVALS(~~ 53-63) II THE MEANING OF THE INTERVALS IN MODULATION (~~ 64-71) III INVERSION OF INTERVALS (~ 72) IV CLASSIFICATION OF INTERVALS (~~ 73-75) SECTION - II Theory of Scale-Steps I SCALE-STEPS AND HARMONY (~~ 76-83) II SCALE-STEP AND COUNTERPOINT (~~ 84-89) III CRITIQUE OF CURRENT METHODS OF TEACHING IN THE LIGHT OF OUR THEORY OF THE SCALE-STEP (~~ 90-92) SECTION - III Theory of Triads I CLASSIFICATION OF TRIADS (~~ 93-96) II THE MODULATORY MEANING OF TRIADS (~ 97) III INVERSION OF TRIADS (~ 98) SECTION IV Theory of Seventh-Chords I NATURE OF THE SEVENTH-CHORD (~ 99) (CHAPTERS II-I, ~~ IOO-I06) SECTION - V The So-called Dominant Ninth-Chord and Other Higher Chords I THE SO-CALLED DOMINANT NINTH-CHORD (~~ 107-II) II THE REMAINING NINTH-CHORDS AND HIGHER CHORDS (~~ 112-14) PART II - PRACTICAL APPLICATION DIVISION - I Theory of the Motion and Succession of Scale-Steps SECTION - I On the Psychology of Contents and o9 Step Progression I SCALE-STEPS AND CONTENTS (~~ II5-I7) II ON DIFFERENT KINDS OF CONCLUSIONS (~~ II8-24) III VARIOUS KINDS OF STEP PROGRESSION (~~ I25-28) IV ON FORM ON A LARGER SCALE (~~ I29-32) SECTION - II On the Psychology of Chromatic Alteration I SCALE-STEPS AND VALUATION THEORY (~~ I33-35) II THE PROCESS OF CHROMATIZATION (TONICALIZATION) (~~ 136-45) III ALTERATION AS A MODIFICATION OF TONICALIZATION (~~ 146-54) IV RELATIONS BETWEEN CHROMATIC CHANGE AND DIATONIC SYSTEM (~~ I55-62) SECTION - III Some Corollaries of the Theory of Scale-Steps in Free Composition I ANTICIPATION (~~ 163-64) II SUSPENSION (~~ I65-66) III THE CHANGING NOTE (~~ 167-68) IV THE PEDAL POINT (~~ 169-70) DIVISION - II Theory of the Progression of Keys SECTION - I Theory of Modulation I MODULATION BY CHANGING THE MEANING OF A SCALE-STEP (~~ 171-76) II MODULATION BY CHROMATIC CHANGE (~~ 177-78) III MODULATION BY ENHARMONIC CHANGE (~~ I79-80) SECTION - II The Theory of Modulating and Preludizing (~~ I81-82) I APPENDIX TO "HARMONY" II APPENDIX TO INTRODUCTION WORKS OF HEINRICH SCHENKER INDEX OF THE MUSIC EXAMPLES INDEX
Synopsis
Harmony , Heinrich Schenker's first published work, originally appeared in German in 1906 as "New Musical Theories and Phantasies, by an Artist." Its unusual title indicates what was to be the rationale of Schenker's lifework, that artistic problems call for artistic solutions. Schenker's dedication to the formulation of a complete musical theory above the commonplace theoretical discussions was, in essence, his quest for a pattern in nature for music as art. Schenker's theory draws upon a profound understanding of the works of the masters and every proposition is illustrated by a living musical example.
LC Classification Number
MT40

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eddoslowmo

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