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French harmonic theory in the Conser...

Peters, Penelope Miller.

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French harmonic theory in the Conservatoire tradition: Fetis, Reber, Durand, and Gevaert.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	French harmonic theory in the Conservatoire tradition: Fetis, Reber, Durand, and Gevaert./
作者:	Peters, Penelope Miller.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1990,
面頁冊數:	403 p.
附註:	Source: Dissertations Abstracts International, Volume: 52-03, Section: A.
Contained By:	Dissertations Abstracts International52-03A.
標題:	Music. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9025690
ISBN:	9798208488515

French harmonic theory in the Conservatoire tradition: Fetis, Reber, Durand, and Gevaert.
Peters, Penelope Miller.

French harmonic theory in the Conservatoire tradition: Fetis, Reber, Durand, and Gevaert. - Ann Arbor : ProQuest Dissertations & Theses, 1990 - 403 p.

Source: Dissertations Abstracts International, Volume: 52-03, Section: A.

Thesis (Ph.D.)--University of Rochester, Eastman School of Music, 1990.

This item must not be sold to any third party vendors.

Recent investigation of nineteenth century French harmony treatises has opened several avenues of inquiry into that topic. An examination of the theory treatise of Charles-Simon Catel reveals that he made significant contributions to the direction taken by music theorists during the first half of the nineteenth century. Further, substantive features of his theory can be found in works from the entire century. In an attempt to demonstrate that Catel was the initiator of a continuity of music-theoretical thought that can be traced throughout the century, this study will first define the central issues of his theory and then compare Catel's ideas with the theories of four prominent writers from the second half of the nineteenth century: Francois Fetis, Henri Reber, Emil Durand, and Francois Gevaert. In his theory, Catel defines "artificial" chords as those which contain "notes etrangeres a l'accord." For Catel, these are notes which are not components of fundamental chords. The "notes etrangeres a l'accord," created through suspensions processes or chromatic alteration, are the result of linear procedures. The notions of "notes etrangeres" and, consequently, the linear identity of the chords were retained by later writers, although they adapted Catel's categories to fit their own theories. Catel was concerned largely with creating a diatonic theory, but the main interest of French theorists from the second half of the nineteenth century was directed toward chromatic harmony. From 1830, chromatic chords in most French harmony texts were defined as being non-diatonic to any key--a notion which was to be retained by many theorists for the remainder of the century. According to this definition, chromatic harmony, omitting applied dominants and modal interchange, consists entirely of chords of linear origin with one or more chromatic notes, the effect of the altered chord being to intensify connections between chords through the creation of leading tones. Thus, the emphasis the major French theorists placed on melodic motion can be shown to span the principles of both diatonic and chromatic harmonic theory in nineteenth-century France.

ISBN: 9798208488515Subjects--Topical Terms:

516178
Music.

French harmonic theory in the Conservatoire tradition: Fetis, Reber, Durand, and Gevaert.
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520 $a Recent investigation of nineteenth century French harmony treatises has opened several avenues of inquiry into that topic. An examination of the theory treatise of Charles-Simon Catel reveals that he made significant contributions to the direction taken by music theorists during the first half of the nineteenth century. Further, substantive features of his theory can be found in works from the entire century. In an attempt to demonstrate that Catel was the initiator of a continuity of music-theoretical thought that can be traced throughout the century, this study will first define the central issues of his theory and then compare Catel's ideas with the theories of four prominent writers from the second half of the nineteenth century: Francois Fetis, Henri Reber, Emil Durand, and Francois Gevaert. In his theory, Catel defines "artificial" chords as those which contain "notes etrangeres a l'accord." For Catel, these are notes which are not components of fundamental chords. The "notes etrangeres a l'accord," created through suspensions processes or chromatic alteration, are the result of linear procedures. The notions of "notes etrangeres" and, consequently, the linear identity of the chords were retained by later writers, although they adapted Catel's categories to fit their own theories. Catel was concerned largely with creating a diatonic theory, but the main interest of French theorists from the second half of the nineteenth century was directed toward chromatic harmony. From 1830, chromatic chords in most French harmony texts were defined as being non-diatonic to any key--a notion which was to be retained by many theorists for the remainder of the century. According to this definition, chromatic harmony, omitting applied dominants and modal interchange, consists entirely of chords of linear origin with one or more chromatic notes, the effect of the altered chord being to intensify connections between chords through the creation of leading tones. Thus, the emphasis the major French theorists placed on melodic motion can be shown to span the principles of both diatonic and chromatic harmonic theory in nineteenth-century France.
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