The Diatonic Modes in Modern MusicMills Music by arrangement with the University of California Press Berkeley, 1951 - 298 страница |
Садржај
THEORY Contents | 1 |
A Diatonic Theory of Chromaticism | 5 |
A Brief Critique and a New Theory | 7 |
Some Distinctions | 12 |
The Ordinal and Lateral Indices | 16 |
Interchangeability of Mode | 23 |
Extended Harmonic Resources | 38 |
Tonic Forms | 42 |
The Case for the Locrian Mode | 140 |
The Phrygian as a Minor Mode | 145 |
Summary and Conclusions | 148 |
A HISTORY OF THE DIATONIC MODES | 151 |
Early Systems | 153 |
The Diatonic Element in Ancient Greek Music | 155 |
The Ecclesiastical Modes | 163 |
The Scales of Folk Song | 169 |
Supertonic Forms | 56 |
Mediant Forms | 65 |
Subdominant Forms | 77 |
Dominant Forms | 85 |
Submediant Forms | 108 |
Extramajorminor Chords on the Seventh Degree | 116 |
Kindred Studies 1 | 117 |
5 | 118 |
7 | 122 |
12 | 126 |
56 | 129 |
Genesis and Growth of the Majorminor System | 174 |
The Minor Mode | 175 |
The Genesis of the Harmonic Modes | 183 |
The Use of the Ecclesiastical Modes by Bach and Händel | 185 |
Blainville and the Troisième Mode | 193 |
The Lowest Ebb of Modality | 200 |
Abbé Lesueur Antiquarian | 204 |
Modality and the French Romanticists | 209 |
Modality and the German Romanticists | 232 |
Modality and the Russian Nationalists | 247 |
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