e-Book Theory of Harmony: 100TH ANNIVERSARY EDITION download

e-Book Theory of Harmony: 100TH ANNIVERSARY EDITION download

by Arnold Schoenberg,Roy E. Carter,Walter Frisch

ISBN: 0520266080
ISBN13: 978-0520266087
Language: English
Publisher: University of California Press; Second Edition, 100th Anniversary edition (October 13, 2010)
Pages: 472
Category: Music
Subategory: Photography

ePub size: 1757 kb
Fb2 size: 1876 kb
DJVU size: 1228 kb
Rating: 4.7
Votes: 806
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by Arnold Schoenberg (Author), Roy E. Carter (Translator), Walter Frisch (Foreword) & 0 more.

by Arnold Schoenberg (Author), Roy E. Best Sellerin Schoenberg.

Berkeley, Los Angeles: University of California Press. ISBN 978-0-520-04945-1. Preliminary Exercises in Counterpoint, Reprinted, Los Angeles: Belmont Music Publishers.

Schoenberg Arnold Theory of Harmony 1983.

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ISBN 13: 9780520266087. Frisch puts Schoenberg's masterpiece into historical and ideological context, delineating the connections between music, theory, art, science, and architecture in turn-of-the century Austro-German culture.

Arnold Schoenberg, Roy E Carter (Translation).

Theory of Harmony (Paperback). Published October 13th 2010 by University of California Press. Paperback, 472 pages. Author(s): Arnold Schoenberg. Author(s): Arnold Schoenberg, Roy E Carter (Translation). Walter Frisch (Foreword). ISBN: 0520946243 (ISBN13: 9780520946248).

Theory of Harmony Schoenberg's text is divided into 22 chapters of between just a couple an. .

Schoenberg takes a different tact by having the student make their own exercises, to which he.

Schoenberg takes a different tact by having the student make their own exercises, to which he provides some basic guidelines, and for every new concept introduced a new exercise is required. By forcing you to make your own assignments you really internalize the information and it becomes more than just facts (. this chord is constructed in this manner, that chord is constructed in that manner).

Foreword by. Walter Frisch.

item 3 Theory of Harmony -Theory of Harmony. Foreword by. 100th Anniversary Ed. Pagination. Carter (Translator), Walter Frisch (Foreword).

A new critical foreword by Walter Frisch, H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University, expands this centennial edition. Frisch puts Schoenberg's masterpiece into historical and ideological context, delineating the connections between music, theory, art, science, and architecture in turn-of-the century Austro-German culture.
This book is the Teach Yourself Person's music theory bible. No joke. If you take the time to study it properly and reread any sections that seem a bit hazy, it will take you a while to get through it, but your understanding of music and harmony will be incredibly profound. I would like to stress that this is NOT a simple book, with simple explanations for music voicing and harmonic instruction. On the contrary, there are very complex concepts and systems that he explains here that are fairly deep, and will require quite a bit of study and definitely some rereading. The book itself is written by a teacher, for teachers AND students. I have not completed this study yet for lack of free time, as I am taking it slow as to understand everything fully, but the more I study this, the more I want to continue studying it. The knowledge he presents builds on itself, and everything is explained in a logical and very thorough fashion. Also, it is not just theory he teaches. He aims to have the pupil well-versed in 4-part voice composition, chord progressions, modulation, transposing, etc, so you will be writing music, and you will be flying through pages and pages of it in your practice exercises.

If you want a hardcore study, and want to come to understand things about sound and harmony you would never even guess at; if you want to learn to write music (and not just throw chords together because they sound great) with purpose; if you yearn to understand WHY that one song sounds so incredible, and to learn how to evoke emotions through similar progressions and melody, this is the book for you, and it is worth many times the amount of money requested here. However, if you want a quick study of harmony with easy-to-understand, simplified concepts, countless pictures of hands shaped to play chords, and large illustrated diagrams of the grand staff, you will not be satisfied.

I have been reading and working through this book for about a year now. I have been writing 4 part harmony exercises as directed by ASchoenberg in this book. This is an important point, to my way of thinking. Writing out one's own harmony exercises according to Arnold's instructions is KEY, I believe, to getting the real value out of the book. I play jazz piano, in addition to sight read through Bach (currently pieces from his French Suites). I've also lately been sight reading (slowly) through some of Bartok's 1926 Piano Sonata. I also am a huge fan of Louis Jordan (and his Tympani FIve) and play some of his music. What does this have to do with Arnold's massive text. All of these examples of Western harmonic music are involved with voice leading. OK, maybe Bartok turns things on their heads, he does use voice leading.

I'm doing what I call a "slow burn" study of Arnold's instructions. My aural perception (my "ear") has sharpened as a result. I would NOT say, by any means that this is the only way to do this. But I do believe that it is an excellent way. The book is a long slow slog. Arnold obsesses about minutiae and he philosophises about aesthetics. The reader is free to skip over these sections and get to the meat of the harmonies.

I wish this book had more practitioners . Again, as I said earlier, I believe the real value is in the practice, not simply reading.

Schoenberg's Harmonielehre (Theory of Harmony) was written for, and intended for use by, composition students in university-level conservatory classes. It is likely to be as hard going for anyone without several years prior music study as would be, say, a college calculus class for someone who had never had high school math. This book assumes you are already a musician, already familiar with the classical tradition from Palestrina through the early 20th century, and already familiar with the basic ideas in harmony and counterpoint.

For those with the musical background to appreciate it, Schoenberg's writing about harmony is interesting and insightful. Not everyone will agree with all of the "philosophical" or "scientific" theories he weaves into his theory of tone relationships. (I put those words in quotation marks because Schoenberg is clearly no scientist, nor philosopher.) However, there is no doubt he is one of the deepest musical thinkers available to learn from. Borrowing his ears through this book is useful not only in sharpening one's own set of compositional tools, but more generally for understanding any piece of serious music.

Shorter essays in his "Style and Idea" -- a book covering a broad range of topics -- give a flavor of what to expect from this much fuller treatment of harmony.

Beginning students interested in learning the fundamentals of harmony cannot do better than Piston's "Harmony."

As many others have said, this isn't your typical theory book. This speaks of theory through the lens of art and aesthetic beauty. Schoenberg knows what music is all about, and his often lengthy diatribes are informative and insightful. His process for teaching is extremely methodical, just the way I like it. No stone goes unturned, and in the process he explains his pedagogical tactics. It is a hefty book and it takes a long time to get through if you do it right, but the amount of information you will get out of it is unparalleled.

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