Roots of the Classical: The Popular Origins of Western Music

By Peter Van Der Merwe | Go to book overview

Index
Italics indicate the page numbers of musical examples. Bold type signifies passages of particular importance (e.g. acoustic mode 217,218,219–20). Dashes within cross-references precede sub-entries (e.g. 'see accompaniment patterns—syncopated' means 'see the subentry syncopated within the entry accompaniment patterns). Chords, keys, etc., are presumed to be major unless the contrary is stated. Square brackets expand a chord into a key (e.g. III♯ is the mediant major triad, [III♯] the key of the major mediant).
a-mode (see also e-mode, and following entry) 42
a-octave mode (see also e-octave mode)
in Scottish folk song Ex. 4.4, 42, Ex. 4.7, 45
in classical music Ex. 13.2, 279, Exs. 13.5– 6, 281, Ex. 13.25,300
Abraham, Gerald, quoted 292
accompaniment patterns (see also drone; waltz bass, and under bass/Bass)
broken-octave 243 n. 24
syncopated
east European 236
in Viennese School Ex. 11.73, 207, Ex. 12.3, 234
estam rhythm 236, Ex. 12.6,237
acoustic mode 217, 218, 219–20, Ex. 11.93, 218–19
defined 488
parallel symmetry in 382
Indian raga derived from 228
folk example of Ex. 11.95, 220
Adam, Adolphe, Si j'étais roi Ex. 13.40, 31o
added sixth chord
on tonic 114,324
as final chord 404
cadence on 333
in waltz 257–8
on dominant or subdominant 324
Addison, Joseph, quoted 131
African folk music 25
musical bow tunes 40, Ex. 4.3, 40, 56, Exs. 5.1–2,56
Afro-American folk music 432–3
Afro-Iberian music in Latin American 460
Age of Reason, attitude to art of 339–40
Alberti bass 124
Allen, William Francis, quoted 443
alphabetical notation xiii–xiv
defined 488
alphorn 215
ambiguity (musical) 18,33,54,72
defined 488
harmonic 168–9, 190, 246
enharmonic 223–5, Ex. n.103, 225
tonal, see tonality, ambiguous
ambit 41–2
defined 488
American folk music, see Afro-American folk music; blues, and following entry
American Indian folk music Exs. 3.14–15^7
Amis, Kingsley, quoted 411
Andalusian folk music, imitation of 164
Andrews, H. K., quoted 300
Angermüller, Rudolph, quoted 276
Another Man done Gone' (early blues) 439n. 15
Apel, Willi 102 n. 30
apical seventh, see seventh (degree of mode), apical major
appoggiatura 138–9
origins of 114–15
early Ex. 8.2, 775
resolving on another appoggiatura 139

-515-

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Roots of the Classical: The Popular Origins of Western Music
Table of contents

Table of contents

  • Title Page iii
  • Preface v
  • Acknowledgements vii
  • Contents ix
  • List of Figures xi
  • A Note on Terminology and Notation xii
  • A Note on the Musical Examples xvi
  • Abbreviations xviii
  • Introduction 1
  • Part One - The Melodic Foundations 5
  • 1: The Subtle Mathematics of Music 7
  • 2: The Ramellian Paradigm 19
  • 3: The Children's Chant 27
  • 4: The Pentatonic Scale 38
  • Part Two - The Harmonic Revolution 51
  • 5: Primitive Harmony 53
  • 6: The Discovery of Tonality 66
  • 7: Rivals to Tonality 86
  • 8: Dissonance and Discord 106
  • 9: The Evolution of Tonality 116
  • Part Three - The Melodic Counter-Revolution 129
  • 10: The Rude, the Vulgar, and the Polite 131
  • 11: The Debt to the East 144
  • 12: The Dances of Central Europe 231
  • 13: The Nineteenth–century Vernacular 271
  • 14: Romanticism 339
  • 15: Modernism 376
  • 16: The Popular Style 426
  • Epilogue 461
  • List of Musical Examples 467
  • Glossary 485
  • Bibliography 502
  • Index 515
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