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Treatises Flashcards

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1
Q

Plato

A

“Republic” and “Timaeus”

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2
Q

Leonard Ratner (1980)

A

Classic Music: Expression, Form, and Style

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3
Q

Aristotle

A

“The Politics” and “The art of Rhetoric”

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4
Q

Ptolemy (2nd century CE)

A

Harmonika

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5
Q

Being and Time (1927)

A

Heidegger

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6
Q

Aristoxenus

A

Elementa Harmonica

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7
Q

The Phenomenology of Perception (1945)

A

Merlau-Ponty

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8
Q

Feeling and Form: A Theory of Art (1953)

A

Suzanne Langer

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9
Q

Raymond Monelle

A

The Sense of Music: Semiotic Essays (2000)

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10
Q

Music in the Galant Style

A

Robert Gjerdingen (2007)

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11
Q

Quintilianus

A

De Musica (3rd-4th centuries CE)

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12
Q

Kofi Agawu

A

Playing with Signs: A Semiotic Interpretation of Classic Music (1991) AND Music as Discourse: Semiotic Adventures in Romantic Music (2009)

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13
Q

Boethius

A

De institutione musica (abbr. De Musica) (early 6th century)

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14
Q

Zarlino

A

Le istutitioni harmoniche (1558)

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15
Q

Hucbald of St Amand

A

Musica (late 9th century)

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16
Q

Robert Hatten

A

Musical Meaning in Beethoven (1994)

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17
Q

Musica Disciplina (c. 840)

A

Aurelian of Réôme

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18
Q

Libellus cantus mensurabilis

A

Johannes de Muris (c. 1340)

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19
Q

Franco of Cologne

A

Ars Cantus Mensurabilis (c. 1280)

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20
Q

Micrologus

A

Guido of Arezzo (c. 1026)

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21
Q

Johannes de Garlandia

A

De mensurabili musica AND De Plana Musica (both c. 1240-1260)

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22
Q

Bartolomeo Ramis de Pareia

A

Musica Practica (1482)

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23
Q

Johannes Tinctoris

A

Diffinitorium musicae (1495) AND Liber de arte contracpuncti (1477)

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24
Q

Franchino Gaffurio

A

Theorica musice (1480, rev. 1492) AND Practica musice (1496)

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25
Q

Marchetto of Padua

A

Lucidarium (1317/18) AND - Pomerium in artae musicae mensuratae (“The Garden of Mensural Music”) (c. 1318-26)

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26
Q

Lawrence Kramer

A

Musical Meaning: Toward a Critical History (2001)

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27
Q

Roland Barthes

A

“Listening” (1985) and “The Grain of the Voice” (1981)

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28
Q

R Murray Schafer

A

“The Tuning of the World (The Soundscape)” (1977)

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29
Q

The Audible Past

A

Jonathan Sterne (2003)

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30
Q

David Huron

A

Sweet Anticipation: Music and the Psychology of Expectation (2005)

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31
Q

Hearing in Time: Psychological Aspects of Musical Meter

A

Justin London (2004, 2nd ed, 2012)

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32
Q

Conceptualizing Music: Cognitive Structure, Theory, and Analysis

A

Lawrence Zbikowski (2002)

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33
Q

Leonard Meyer

A

Emotion and Meaning in Music (1956)

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34
Q

Beyond Schenkerism: The Need for Alternatives in Music Analysis

A

Eugene Narmour (1977)

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35
Q

Pietro Aaron

A

Toscanello in Musica (1523),

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36
Q

Dodechachordon

A

Heinrich Glarean (1547)

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37
Q

Francisco de Salinas

A

De musica libri septum (1577)

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38
Q

Francisco de Montanos

A

Arte de musica theorica y pratica (1592)

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39
Q

Dialogo della musica antica et della moderna (1581)

A

Vincenzo Galilei

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40
Q

Joachim Burmeister

A

Musica Poetica (1606)

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41
Q

Johannes Lippius

A

Synopsis musicae novae (1612)

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42
Q

Marin Mersenne

A

Harmonie Universelle (1636)

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43
Q

Tractatus compositionis augmentatus (c. 1660)

A

Christoph Bernhard

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44
Q

Andreas Werchmeister

A

Musicalische Temperatur (1691)

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45
Q

Joseph Sauveur

A

Traité de la theorie de la musique (1697),

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46
Q

Gradus ad Parnassum

A

Johann-Joseph Fux (1725)

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47
Q

Johann Mattheson

A

Der Wollkommen Capellmeister (1739)

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48
Q

Johann David Heinichen

A

Der General-Bass in der Composition (1728)

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49
Q

Jean-Philippe Rameau

A

Traité de l’harmonie (1722), Nouveau système de musique théorique (1726), AND Génération harmonique (1737)

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50
Q

Trattato di musica (secondo la vera scienza dell’armonia) (Treaty of music according to the true science of harmony)

A

Giuseppe Tartini (1754)

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51
Q

Johann Adolf Scheibe

A

Der critische Musicus (journal from 1736-45)

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52
Q

Friedrich Wilhelm Marpurg

A

Abhandlung von der Fuge (Treatise on Fugue) (1753–54)

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53
Q

Anfangsgründe zur musicalischen Setzkunst (The beginnings of musical composition)

A

Joseph Riepel

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54
Q

Johann Philipp Kirnberger

A

Die Kunst des reinen Satzes in der Musik (The art of strict musical composition) (1771)

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55
Q

Kurzgefasste Methode den Generalbass zu erlernen (A brief method of learning Generalbass)

A

Johann Georg Albrechtsberger (1791)

56
Q

Abbé Vogler (1776 AND 1802)

A

Tonwissenschaft und Tonsezkunst (Musical Science and Composition) (1776) AND Handbuch zur Harmonielehre

57
Q

Heinrich Christoph Koch

A

Versuch einer Anleitung zur Composition (Introductory essay on composition) (1782-93)

58
Q

Lodovico Zacconi

A

Prattica de musica (part I, 1592 and part II, 1622)

59
Q

Jérôme-Joseph de Momigny

A

Cours complet d’harmonie et de composition (1806)

60
Q

Gottfried Weber (1817-1821)

A

Versuch einer geordneten Theorie der Tonsetzkunst (Theory of musical composition)

61
Q

Anton Reicha

A

Traite de melodie (1814) AND Traite de haute composition musicale (1824–26)

62
Q

François-Joseph Fétis

A

Traité complet de la theorie et de la pratique de l’harmonie (1844), AND Traité au contrepoint et de la fugue (1824)

63
Q

A.B. Marx

A

Die Lehre von der musikalischen Komposition, praktisch-theoretisch (1837-47) AND Allgemeine Musiklehre (1839)

64
Q

Simon Sechter

A

Grundsätze der musikalischen Komposition (The Correct Order of Fundamental Harmonies) (1853-54)

65
Q

Moritz Hauptmann

A

Die Natur der Harmonik und Metrik (1853)

66
Q

Johann Christian Lobe

A

Lehrbuch der musikalischen Komposition (1850–67)

67
Q

Eduard Hanslick

A

Vom Musikalisch-Schönen (On the Musically Beautiful), 1854

68
Q

Hermann von Helmholtz

A

Die Lehre von den Tonempfindungen (1863)

69
Q

Heinrich Vincent

A

Die Einheit in der Tonwelt (Unity in the World of Tones)

(1862)

70
Q

Arthur von Oettingen

A

Harmoniesystem in dualer Entwicklung (1866)

71
Q

Carl Stumpf

A

Tonpsychologie (1883, 1890)

72
Q

Hugo Riemann

A

Handbuch der Harmonielehre (1887) AND Vereinfachte Harmonielehre (1893)

73
Q

Georg Capellen

A

Fortschrittliche Harmonie- und Melodielehre (Advanced harmony and melody book) (1908)

74
Q

Our Musical Idiom (1917)

A

Ernst Bacon

75
Q

Ernst Kurth (1917, 1920, and 1931)

A

Grundlagen des linearen Kontrapunkts (1917) AND Romantische Harmonik und ihre Krise in Wagners ‘Tristan’ (1920) AND Musikpsychologie (1931),

76
Q

Heinrich Schenker

A 
o	Harmonielehre (1906)
o	Kontrapunkt (two volumes, 1910, 1922)
o	Der freie Satz (1935)
77
Q

Schenker’s periodicals

A 
Der Tonwille (1921-24)
Das Meisterwerk in der Musik (1925-30)
78
Q

CPE Bach

A

Versuch über die wahre Art das Klavier zu spielen (Essay on the True Art of Playing Keyboard Instruments)
(1753-62)

79
Q

Arnold Schoenberg

A

Harmonielehre (1911), Structural Functions of Harmony (1948), Fundamentals of Musical Composition (1967)

80
Q

Psychology of Musical Talent (1919)

A

Carl Seashore

81
Q

Essays in Musical Analysis (1935-39)

A

Donald Tovey

82
Q

Technqiue de mon langage musical

A

Olivier Messiaen (1944)

83
Q

Hindemith

A

The Craft of Musical Composition (1937)

84
Q

Felix Salzer

A

Structural Hearing (1952)

85
Q

Sound and Symbol (1956)

A

Viktor Zuckerkandl

86
Q

Robert Francès

A

La Perception de la Musique (1958)

87
Q

Milton Babbitt

A

“Some Aspects of Twelve-Tone Composition” (1955), “Twelve-Tone Invariants as Compositional Determinants” (1960), “Set Structure as a Compositional Determinant” (1961), and “Twelve-Tone Rhythmic Structure and the Electronic Medium” 1962

88
Q

Allen Forte

A

The Structure of Atonal Music (1973), “Pitch-class set genera and the origin of modern harmonic species” (1988)

89
Q

Wallace Berry

A

Structural Functions in Music (1975)

90
Q

David Lewin

A

Generalized Musical Intervals and Transformations (1987), “Music Theory, Phenomenology, and Modes of Perception.” (1986)

91
Q

A Generative Theory of Tonal Music

A

Lerdahl and Jackendoff (1983)

92
Q

Robert Morris

A

Composition With Pitch Classes (1987), ‘Generalizing Rotational Arrays’ (1988)

93
Q

Phrase Rhythm in Tonal Music

A

William Rothstein (1989)

94
Q

Cognitive Foundations of Musical Pitch

A

Carol Krumhansl (1990)

95
Q

The Analysis and Cognition of Melodic Complexity: The Implication-Realization Model

A

Eugene Narmour (1990)

96
Q

Daniel Harrison

A

Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of its Precedents (1994)

97
Q

Christopher Hasty

A

Meter as Rhythm (1997)

98
Q

Classical Form: A Theory of Formal Functions for the Music of Haydn, Mozart, and Beethoven

A

William Caplin (1998)

99
Q

Elements of Sonata Theory

A

Hepokoski and Darcy (2006)

100
Q

Dmitri Tymoczko

A

A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice (2011)

101
Q

Daniel Jelensperger

A

L’harmonie au commencement du dix-neuvieme siècle

102
Q

Compiled by “Peter of the Lazy Hand”

A

Compendium de discantu mensurabili (1336)

103
Q

Donald Martino

A

“The Source Set and its Aggregate Formations” (1961)

104
Q

Lampe

A

A Plain and Compendious Method of Teaching Thorough Bass (1737)

105
Q

Interval Function Piece

A

Webern Op. 7 No. 3 (for violin and piano)

106
Q

Interval Vector Piece

A

Webern Op. 11 No. 1 (for cello and piano)

107
Q

Philippe de Vitry

A

Ars Nova (c. 1316)

108
Q

Row derivation piece

A

Webern Concerto for Nine Instruments, Op. 24, movement two

109
Q

Hexachordal combinatoriality piece

A

Schoenberg Variations for Orchestra, Op. 31, “Tema”

110
Q

Allanbrook

A

Musical Gesture in Mozart (1984)

111
Q

First independent continuo part

A

Viadana: one of his concerti (1602)

112
Q

Expressive tonality example

A

Die Walkure Act I scene 2

113
Q

19th century sonata deformation

A

Dvorak Piano Quintet in A minor, Bruckner Symphony 7 in E major, Mahler Symphony 6 in A minor

114
Q

“How we got into analysis and how we got out”

A

Kerman (1980)

115
Q

Schachter

A

Rhythm in Linear Analysis (1976, 1980, 1987), also compiled “Unfoldings” (1999)

116
Q

“The Second Practice of Nineteenth-Century Tonality”

A

Krebs and Kinderman

117
Q

Gregory Proctor

A

“Technical Bases of Nineteenth-Century Chromaticism”

118
Q

Robert Bailey (1977)

A

“The Structure of the Ring and its Evolution”

119
Q

McCreless

A

Wagner’s Siegfried: Its Drama, History, and Music (1982)

120
Q

Robert Morgan

A

“Dissonant Prolongations: Theoretical and Compositional Precedents” (1976)

121
Q

Darcy (1994)

A

“The Metaphysics of Annihilation: Wagner, Schopenhauer, and the ending of the Ring”

122
Q

Kielian-Gilbert

A

“The Functional Differentiation of Harmonic and Transpositional Patterns in Liszt’s ‘Consolation’ No. 4”

123
Q

Cohn (1996)

A

Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions

124
Q

Catherine Losada

A

“Complex Multiplication, Structure, and Process: Harmony and Form in Boulez’s Structures II (2014, 2016 award)

125
Q

Elizabeth Margulis

A

On Repeat: How Music Plays the Mind (2013, 2014 award winner)

126
Q

Nathan Martin

A

“Rameau’s Changing Views on Supposition and Suspension” (2012, 2014 award winner)

127
Q

Nicole Biamonte

A

“Formal functions of metric dissonance in rock music” (2014), “Triadic Modal and Pentatonic Patterns in Rock Music” (2010)

128
Q

Cohn (1999)

A

“As wonderful as star clusters: Instruments for gazing at tonality in Schubert”

129
Q

Spiral Learning book

A

Bruner: The Process of Education (1960)

130
Q

Stochastic Process pieces

A

ST/48 and ST/10 (both 1962)

131
Q

Crotch

A

Elements of Musical Composition (1812)

132
Q

Paul Henry Lang

A

Schenker critic in “The Musical Quarterly” (1946)

133
Q

Cone

A

Musical Form and Musical Performance (1968)

134
Q

Cooper and Meyer

A

The Rhythmic Structure of Music (1960)

135
Q

Yeston

A

The Stratification of Musical Rhythm (1976)

136
Q

Dressler

A

Praecepta musicae poeticae (1543, on fugue)

137
Q

Matthew Locke

A

Melothesia: or, certain general rules for playing upon a continued bass (1673)

History of music theory (2 decks)

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