Audacious Euphony reconstructs this view and uses it as the basis for a chromatic model of triadic space, developing geometric representations from blueprints. Review of Richard Cohn, Audacious Euphony: Chromaticism and the Triad’s Second Nature (Oxford University Press, ). Audacious Euphony has 22 ratings and 0 reviews. Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diaton.

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Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature

This book is available as part of Oxford Scholarship Online – view abstracts and audaxious at book and chapter level. Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntactic impulse.

In Audacious Euphonyauthor Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceives what consonant triads are, and how they euphoby to one another.

Audaciuos doing so, he shows that major and minor triads have two distinct natures: Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the euphohy progressions characteristic of the 19th century.

Audacious Euphony develops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across the long nineteenth century.


Essential reading for music theorists, Audacious Euphony is audxcious a valuable resource for music historians, performers and composers.

Table of Contents 1.

Audacious Euphony: Chromaticism and the Triad’s Second Nature by Richard Cohn

Wagner and Strauss 5. Navigating the Triadic Universe: Wagner and Brahms 9. His work on chromatic harmony has been the topic of a series of summer seminars convened by the late John Clough, and has been developed in about a dozen doctoral dissertations, at Chicago, Indiana, Yale, Harvard, and SUNY-Buffalo.

Cohn edits the Oxford Studies in Music Theory series.

In preparation is a general model of meter with applications for European, African, and African-diasporic music, and a co-edited collection on David Lewin’s phenomenological writings. The writing is vivid and engaging, the musical close readings are rich and compelling in their detail, and at every turn there is something new to learn about music and musical materials we had thought we already knew well.

It lights up as never before the universe of triads domesticated in nineteenth-century chromatic music. Were Richard Cohn not already a household name among music theorists, this book would change aucacious. Semiotic Adventures in Romantic Music.

Lucid and engagingly written, this book is indispensable reading for music theorists and indeed for anyone deeply interested in 19th-century chromatic harmony. A companion website presents longer scores, analytical animations, and audio files. As such, it will frame the continuing debate about nineteenth-century chromaticism and be an essential reference point for the non-integrationist perspective. It is also necessary eupphony for anyone interested in nineteenth-century music, reflecting a comprehensive picture of nineteenth-century composers’ use of harmony that penetrates deeply into the repertoire.

It will become an indispensible source for future research. While many of the essential concepts and analytical tools have been developed in previous scholarship, this book successfully unifies and expands upon these diverse ideas, providing the reader with audzcious theoretically rigorous and historically informed approach to understanding the complex harmonic innovations of the long nineteenth century. Oxford University Press is a department of the University of Oxford.


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Audacious Euphony – Richard Cohn – Oxford University Press

Oxford Scholarship Online This book is available as part of Oxford Scholarship Online – view abstracts and keywords at book and chapter level. Audacious Euphony Chromatic Harmony and the Triad’s Second Nature Richard Cohn Oxford Studies in Music Theory A new and controversial theory of 19th-century harmony A systematic development of a historical model A new explanation for why 19th-century music is affiliated with the supernatural Features a companion website with expanded transcriptions.

Semiotic Adventures in Romantic Music ” Audacious Euphony synthesizes and extends the influential neo-Riemannian approach to chromatic tonality that Richard Cohn’s earlier theoretical work helped develop. Mahler’s Symphonic Sonatas Seth Monahan. Music at Hand Jonathan De Souza. Metamorphosis in Music Benjamin R.

In the Process of Becoming Janet Schmalfeldt. In Performance Wayne Bailey. Laitz and Ian Sewell. Studies in Music with Text David Lewin. Music as Discourse Kofi Agawu. Beethoven Second Edition William Kinderman. Songs in Motion Yonatan Malin.

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