Find a copy in the library
Finding libraries that hold this item...
|Additional Physical Format:||Online version:
Eitan, Zohar, 1955-
Philadelphia : University of Pennsylvania Press, 1997
|All Authors / Contributors:||
|Description:||187 pages : music ; 26 cm.|
|Contents:||1. Why Study Melodic Peaks? --
2. Method: Testing the Hypotheses --
3. Peaks in Haydn: The Attenuation of Climax --
4. Chopin: Melodic Peaks, Salience, and Intensity --
5. Peaks in Berg: Romantic Gesture in a New Context --
6. Conclusion: Style and Melodic Gesture --
App. 1. Peaks and Control Notes Examined --
App. 2. Random Numbers Used to Determine Controls.
|Series Title:||Studies in the criticism and theory of music.|
|Other Titles:||High points|
Melodic contour has received increasing attention from psychologists, music theorists, and ethnomusicologists partially because, unlike functional tonal relationships, it is a universal facet of auditory patterning and may be strongly related to primeval, "natural" aspects of perception. By focusing on this elemental aspect, rather than on pitch syntax or conventional form, the author provides fresh insights into the work of the individual composers he discusses as well as an innovative approach to broad issues of musical style and style change. Highpoints concludes with a discussion, drawing on empirical findings, of melodic gesture and syntax as distinct, independent dimensions of style, style boundaries, and style change.