- Amazon Student members get an extra 10% off this product Here's how (terms and conditions apply)
Twentieth-Century Harmony: Creative Aspects and Practice Hardcover – 1 Apr 1961
|New from||Used from|
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Special offers and product promotions
Frequently bought together
Customers who bought this item also bought
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
From the Back Cover
One of the most important books on contemporary music to appear in this century. Here for the first time is an orderly presentation of the harmonic procedures to be found in music of the first half of the twentieth-century. The author examines the nature of intervals in various contexts, discusses the modes and other scales employed in modern music, describes the formation and uses of chords by thirds, by fourths, and by seconds, of added-note chords and polychords; he deals with different types of harmonic motion, with harmonic rhythm and dynamic sand ornamentation, with harmonic behavior in tonality, polytonality, atonality and serial composition.
What other items do customers buy after viewing this item?
Top customer reviews
There was a problem filtering reviews right now. Please try again later.
There is just so much in the volume and so inspirational in its delivery - sporting exercises, copious listening lists etc at the end of every chapter and a wealth of musical examples within them. One of its best qualities has to be that it has such a beautifully succinct narrative, without any fatuous waffling about merits or demerits of this or that or the politico-economic climate of the times as the language evolved! It simply gets on with the job of giving you what there is out there, how to understand it technically, and how to shape your own technical understanding and aesthetic approach by "doing it" (ie composing music yourself). As the author beautifully puts it, the tools are given here; all the aspiring composer needs now is creativity!! Indeed if you can't compose while dipping through this wonderful volume (because it teaches more than JUST harmony!!!) then I don't think you would have that necessary creativity to compose at all. The book is also impeccably put together, so that you don't have to read from cover to cover in order to develop your musical/compositional vocabulary - well, I'd recommend first getting to grips with the initial concepts of the impact of different intervals, the chiaroscuro of chordal formations etc etc etc.
This is a truly opulent volume, and if you have no other book than this, you would still be able to compose, even if you teach yourself through it!
There are just two little criticisms though:
(1) Like so many music books, it fails on providing for the listening element. I would want the publishers to perhaps produce an optional enhanced volume comprising 2 CDs, accommodating (a) all the musical examples and (b) a representative sample of the recommended listening list. This editorial enterprise would greatly add to this volume. Or alternatively, create a dedicated website with such listening samples (such as Alex Ross's "The Rest is Noise" or David McCleery's "Discover Classical Music of the Twentieth Century (Book & Website with music)"). Twenteth century scores are not easy to read, and the book assumes that you would have accomplished keyboard skills to play the examples. Well, not all competent composers are keyboardists. (I mean, even Ralph Vaughan Williams admitted that the piano was a continual mystery to him.)
(2) It is such a great pity that this volume was never updated to cover the latter end of the 20th century. But nonetheless it will have its niche carved out among the other great historical volumes, like Schoenberg's "Fundamentals of Music Composition" (Persichetti himself is a composer of course). Rimsky Korsakov's "Orchestration" etc etc.
IMHO this book should be mandatory to all compositional courses, and I can't recommend it highly enough!!! It's the best under-twenty-quid I've ever spent, and I will make sure there's always a copy wherever I go!!
Would you like to see more reviews about this item?