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Structural Functions of Harmony

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    Available in PDF - DJVU Format | Structural Functions of Harmony.pdf | Language: ENGLISH
    Arnold Schoenberg(Author)

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First published in 1948, Structural Functions of Harmony is Schoenberg's last theoretical work and contains his ultimate thoughts on classical and romantic harmony. The opening chapters are a resume of the basic principles of the early Theory of Harmony; the subsequent chapters demonstrate the concept of 'monotonality', whereby all modulations to different keys within a movement are analysed not in relation to each other but in terms of the irrelationship to one central tonality (tonic) as the centre of all harmonic change. Schoenberg's music examples range from the entire development sections of classical symphonies to analyses of the harmonic progressions of Strauss, Debussy, Reger, and his own early music.

Arnold Schoenberg (1874-1951) was an Austrian composer, later moving to the United States, and was leader of the Second Viennese School. In the 1920s, Schoenberg developed the twelve-tone technique, and his approach, both in terms of harmony and development, is among the major landmarks of twentieth-century musical thought. The extraordinary scope of Schoenberg's intelligence, and the often prophetic character of his insights, make his writings on music an indispensable source for anyone interested in the complex history of twentieth-century music.

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Book details

  • PDF | 224 pages
  • Arnold Schoenberg(Author)
  • Faber & Faber; Main edition (15 Mar. 1999)
  • English
  • 10
  • Music, Stage & Screen

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Review Text

  • By fourier on 11 June 2012

    Having self-studied harmony from excellent modern textbooks (e.g., Laitz, Kostka-Payne), I found myself unable to really comprehend what was going on harmonically in a piece of, say, Wagner. There were, seemingly, too many (random?) modulations, chromatic harmonies, e.t.c., that did not make sense as a practical procedure one would follow in composing.Schoenberg's book provides a unifying theory on these "romantic harmonic issues". In his theory, the chords/harmonies that correspond to a single key are not confined to the so-called "diatonic" ones, but many more, of almost equal importance, are included, justified as "substitutes", "transformations", e.t.c. These, along with the concept of regions (which is what modern textbooks refer to as "tonicization") provide a large harmonic "space" out of which the composer can draw, remaining in a single key.Suggestions (rules) concerning voice-leading and resolution of these "extra" harmonies are provided, with many examples and analyses from the literature (ranging from Bach to Strauss).Clearly, the level of the book is advanced. You should be in a position to analyze a classical-period piece before attempting to read it. Also note, that the organization is not perfect, e.g., there are places where a concept is used in passing before it has been presented/explained. This makes a second (/third/fourth...) reading of the book a necessity.Highly recommended for anyone interested in these topics!

  • By christopher wood on 10 June 2013

    This book is one of the most detailed music theory books out there. I would only recommend getting it if you are a music student or have an advanced knowledge of music theory.

  • By Will Richardson on 26 July 2015

    Very informative book with examples. Very romantic, chopinesque, rachmaninoff harmonies which is why I bought the book

  • By Steve Morton on 4 October 2012

    If you're a student of music, you probably have this book.Otherwise, it's a worthwhile purchase for whichever music genre you're working in.Steve

  • By themusicbod on 24 October 2015

    If you ever want to learn harmony, better than the old system used in most proffessional placesget this book. It's truly an eye opener.

  • By W. S. Doran on 14 April 2015

    Excellent , as expested Thanks

  • By ecc83 on 14 February 2015

    present for son.


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