Roots of the Classical: The Popular Origins of Western Music

By Peter Van Der Merwe | Go to book overview

A Note on the Musical Examples

The musical examples are of two types: (I) quotations of actual music, and (2) schematic 'diagrams' of progressions, etc.


MUSICAL QUOTATIONS

Where these have been transposed, the interval is given at the end of the caption, e. g. 'up a tone' means that the example is a tone higher than the original. In addition, note the following:

1. Dates are provided for most quotations. I must disclaim any deep research for these, most of which have simply been drawn from the handiest source; in any case, it is often impossible to ascertain the exact year of composition. When a period covers more than one year (e.g. 1856–8), this usually means that the work was composed at some time during that period, rather than that it occupied the whole of it. In dubious cases I have preferred later dates, on the grounds that the work must at least have been in existence by then.

2. Bar numbers are included in most headings, e.g. 'Schoenberg, Verklärte Nacht, bars 231–5'. These are not to be confused with the numbers printed below most of the staves. It is the latter that are referred to in the text, e.g. 'in bars 3–5 of Ex.…'.

3. Repeat marks with four instead of two dots indicate indefinite repetition.

4. A few liberties have been taken with the rhythmic notation, especially the beaming together of separate notes in vocal music. I have, however, been careful to avoid anything that would make a difference in performance.

5. Full-sized notes are to be taken literally. Small notes serve to sketch in the harmony, or, in one or two examples, to set off melodic figures that rise above the Melody proper.

6. Most octave doublings have been omitted.

7. So have some of the more otiose marks of expression.

8. In marks of expression, etc., square brackets indicate editorial additions,

-xvi-

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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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