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Product Description
Product Description
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.
About the Author
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. 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 20th 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 20th century music.
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First Sentence
A TRIAD standing alone is entirely indefinite in its harmonic meaning; it may be the tonic of one tonality or one degree of several others. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
A TRIAD standing alone is entirely indefinite in its harmonic meaning; it may be the tonic of one tonality or one degree of several others. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Customer Reviews
Most Helpful Customer Reviews
12 of 17 people found the following review helpful
Format:Paperback
It deals with advanced harmony theory based on traditional theory. This book introduces Region concept of harmony. It is eccential concept for understanding the structure of harmony progression related with modulation. But I was able to find it only from this text, any other books of harmony do not deal with such concept.
Most Helpful Customer Reviews on Amazon.com (beta)
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11 reviews
31 of 35 people found the following review helpful
Important book, but make sure you have a solid background before you take this on.
29 Nov 2005
Format:Paperback
This is an important book because it is a document written by Arnold Schoenberg. He wrote it from the way he taught his students harmony. If you know Schoenberg's tonal music you know how highly chromatic it is. It moves from tonal center to tonal center almost without the listener understanding how far they are traveling. This book uses his concept of region and that is not something taught in your freshman - sophomore theory courses.
If you want to read this book, make SURE you have a strong grounding in traditional theory first. Then ground yourself in Schoenberg's treatise on harmony. Then take on this little book. Otherwise it will be opaque to you.
However, just because you can't understand what the composer wrote, don't suppose that it is nonsense or dismiss it because of your own lack of comprehension. Schoenberg was a very important composer and understood the methods of composition very well. He certainly had his own views, however idiosyncratic they may be. It is simply that when you are Schoenberg you can do things lesser musicians cannot.
If you want to read this book, make SURE you have a strong grounding in traditional theory first. Then ground yourself in Schoenberg's treatise on harmony. Then take on this little book. Otherwise it will be opaque to you.
However, just because you can't understand what the composer wrote, don't suppose that it is nonsense or dismiss it because of your own lack of comprehension. Schoenberg was a very important composer and understood the methods of composition very well. He certainly had his own views, however idiosyncratic they may be. It is simply that when you are Schoenberg you can do things lesser musicians cannot.
18 of 20 people found the following review helpful
not for beginners
2 Jan 2007
Format:Paperback
Well it looks like naj "jak" here is almost as clueless as he thinks the book is. He should know that Theory of Harmony is not a book to LEARN harmony, its a book that teaches you in detail the purposes and most advanced properties of such. If you're looking to begin music, do not buy this book. If you are a musician looking for a (in my opinion) genius's perspective on one of the most fundamental elements of music...then thats the book for you.
5 of 6 people found the following review helpful
New Revelations of Old Forms
29 Aug 2007
Format:Paperback
Schoenberg writes from a traditional harmonic standpoint. But he is aware of the fact that the primary systems of analysis are very limited to these traditional sounds and harmonies. Therefore Schoenberg sets out to put into work a new system for harmonic analysis which will work fine on traditional harmonies as well as on newer, more outside progressions. He achieves all of this through his idea of regions within music, a specific idea with a broad goal. By leaving the intricacies of traditional harmonic analysis and widening his scope, Schoenberg presents a system we may all need to take a second look at.
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