Roots of the Classical: The Popular Origins of Western Music

By Peter Van Der Merwe | Go to book overview

usually transferred from earlier in the movement; e.g. 'Andante [più mosso]' means that the original direction 'Andante' has been followed at some point by a 'più mosso'. Round brackets, as in Allegretto grazioso (Quasi Andantino)' from the second movement of Brahms's Second Symphony, are original.

9. In tempo directions, words of songs, etc., I have tried to keep to the original spelling and punctuation. Hence some inconsistencies, especially in German.

More important omissions (e.g. of words or orchestral parts) have been duly noted.

Octave signs above or below the stave apply only to the melodic lines closest to them. Transpositions affecting all the notes on the stave are indicated by clef.

The principles governing the transcription of lute tablature are set out in the note on Ex. 6.7 in the List of Musical Examples.


SCHEMATIC EXAMPLES

1. Stemless black blobs indicate melody; semibreves ('whole notes'), harmonic chords; breves ('double notes'), keynotes or drones.

2. Normal-sized black blobs predominate over smaller ones.

3. Any chord or key remains in force until cancelled by a new chord or key.

In general, I have aimed to present these examples as concisely as possible. For this purpose 'guitar notation' (that is, on one stave with the notes an octave higher than usual) has proved to be invaluable. I should, however, add that the presentation of an example—whether on one, two, or even more staves—is purely a matter of convenience, and has nothing to do with its importance.

-xvii-

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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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