Khannanov ildar d (43 resultados)

VIII, 106 p. Hardcover. Versand aus Deutschland / We dispatch from Germany via Air Mail. Einband bestoßen, daher Mängelexemplar gestempelt, sonst sehr guter Zustand. Imperfect copy due to slightly bumped cover, apart from this in very good condition. Stamped. Current Research in Systematic Musicology 247. Sprache: Englisch.…

Condición: New.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: As New. Unread book in perfect condition.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

hardcover. Condición: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Ex library copy with usual stamps & stickers.…

Condición: New.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New. In English.

Condición: New. 1st edition NO-PA16APR2015-KAP.

Hardback. Condición: New. The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book offers both the historical overview and the analytical discourse on this antinomy in both Western and Russian perspectives. It presents an insider's view of the latter and contains materials never previously published.…

Condición: New.

Condición: New. Ildar D. Khannanov is associate professor of music theory at Peabody Institute, Johns Hopkins University. He is a student of Yuri Kholopov (Moscow Conservatory), Pieter C. Van den Toorn (University of California, Santa Barbara), and Jacques Derrid.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New. A brand new book in pristine condition. Showing zero signs of shelf wear, creases, or damage.

Hardback. Condición: New. The antinomy of musical work and musical form has been central for music theory for centuries. Musical work is complete and all-inclusive, which makes it an ideal object of study. However, the teaching of musical form, albeit selective, is self-sufficient and epistemologically sovereign. The book offers both the historical overview and the analytical discourse on this antinomy in both Western and Russian perspectives. It presents an insider's view of the latter and contains materials never previously published.…

hardcover. Condición: New. NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

Hardback. Condición: New. New Book, Direct from Publisher.

Hardback. Condición: New. Tonal-harmonic function-the object of this study-remains an obscure concept. It has been insufficiently studied and poorly defined by both representatives of the time of function (European music and music theory of the eighteenth and nineteenth centuries) and its critics of the time outside function (since Schenker until present). Yet, considering the efficiency of function and the results of its practical application-pretty much, all good music of the common practice-one may reconsider the complete cancellation of this concept for research and pedagogy. It is time to return tonal-harmonic function into music theory pedagogy. Tonal work is a marvel of music. It is partially handmade and partially the product of nature (either a divine creation or a product of natural evolution). It is the result of continuous and arduous work of generations of talented musicians that only in European context spans over two and half millennia. Its formation and becoming went in parallel with human evolution. Regrettable attempts to abandon functionality in music for several decades after the two disastrous military conflicts of the twentieth century itself can be cancelled-with facility this time, with no harm for the masterpieces, and with the benefit for future generations of musicians. And then there is a pragmatic consideration: the way music theory offers its concepts to students today is notably problematic. By eliminating harmonic function from discussions of tonal music, teachers incur serious damage to the process of learning that is by itself rather difficult and dicey. Perhaps, the direct goal of this book is more pragmatic than theoretical. Its local and tangible goal is to return to a very effective method of acquisition of specifically musical knowledge, based upon proven tradition of teaching harmony and form.…

Condición: New.

Buch. Condición: Neu. Neuware - Tonal-harmonic function-the object of this study-remains an obscure concept. It has been insufficiently studied and poorly defined by both representatives of the time of function (European music and music theory of the eighteenth and nineteenth centuries) and its critics of the time outside function (since Schenker until present). Yet, considering the efficiency of function and the results of its practical application-pretty much, all good music of the common practice-one may reconsider the complete cancellation of this concept for research and pedagogy. It is time to return tonal-harmonic function into music theory pedagogy. Tonal work is a marvel of music. It is partially handmade and partially the product of nature (either a divine creation or a product of natural evolution). It is the result of continuous and arduous work of generations of talented musicians that only in European context spans over two and half millennia. Its formation and becoming went in parallel with human evolution. Regrettable attempts to abandon functionality in music for several decades after the two disastrous military conflicts of the twentieth century itself can be cancelled-with facility this time, with no harm for the masterpieces, and with the benefit for future generations of musicians. And then there is a pragmatic consideration: the way music theory offers its concepts to students today is notably problematic. By eliminating harmonic function from discussions of tonal music, teachers incur serious damage to the process of learning that is by itself rather difficult and dicey. Perhaps, the direct goal of this book is more pragmatic than theoretical. Its local and tangible goal is to return to a very effective method of acquisition of specifically musical knowledge, based upon proven tradition of teaching harmony and form.…

Condición: New. A brand new book in pristine condition. Showing zero signs of shelf wear, creases, or damage.

Gebunden. Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardback. Condición: New. Tonal-harmonic function-the object of this study-remains an obscure concept. It has been insufficiently studied and poorly defined by both representatives of the time of function (European music and music theory of the eighteenth and nineteenth centuries) and its critics of the time outside function (since Schenker until present). Yet, considering the efficiency of function and the results of its practical application-pretty much, all good music of the common practice-one may reconsider the complete cancellation of this concept for research and pedagogy. It is time to return tonal-harmonic function into music theory pedagogy. Tonal work is a marvel of music. It is partially handmade and partially the product of nature (either a divine creation or a product of natural evolution). It is the result of continuous and arduous work of generations of talented musicians that only in European context spans over two and half millennia. Its formation and becoming went in parallel with human evolution. Regrettable attempts to abandon functionality in music for several decades after the two disastrous military conflicts of the twentieth century itself can be cancelled-with facility this time, with no harm for the masterpieces, and with the benefit for future generations of musicians. And then there is a pragmatic consideration: the way music theory offers its concepts to students today is notably problematic. By eliminating harmonic function from discussions of tonal music, teachers incur serious damage to the process of learning that is by itself rather difficult and dicey. Perhaps, the direct goal of this book is more pragmatic than theoretical. Its local and tangible goal is to return to a very effective method of acquisition of specifically musical knowledge, based upon proven tradition of teaching harmony and form.…

Buch. Condición: Neu. Druck auf Anfrage Neuware - Printed after ordering - This Volume II of the Proceedings of the Worldwide Music Conference 2021 continues the line of publications of the first volume in a highly interdisciplinary mode. This time, we offer eight chapters that provide the in-depth study of music in four large sub-fields: mathematics, language and theory of narrative, evolution and perception, and, finally, sociology. The first chapter, by Roman Ruditsa, is devoted to the study of structural pitch organization. This is based upon a formal logical interpretation of the idea of pitch. The chapter contains formal definitions of such objects as tones, intervals, and interval systems and a demonstration of the logical relationships that exist between them. The second chapter, in the same mathematical venue, by Celina Richter and Stefan E. Schmidt, revisits the millennial question of the essence of an interval, using highly advanced mathematical language, the categories of monoid and the algebraic theory of measurement. The next block is dedicatedto language and narrative; the first chapter is by Vincent Meelberg. Here, the reader will find fascinating developments in the ongoing deliberations on this elusive category. The name of Trevor Rawbone, perhaps, does not need an introduction to those involved with cognitive studies of music. This time, his chapter deals with the idea of the language of musical thought, which shifts the traditional discussion of language into a very new dimension. Carlos Almada begins a new section in the book, the one dedicated to evolution and perception. He begins with Darwin and takes us through the exciting path of development of the science of evolution, which he masterfully connects to his model of derivative analysis of music. The question of psycho-physiological foundation of the ethnic hearing, raised in the chapter by lla V. Toropova and Irina N. Simakova, is a difficult one. The idea of ethnic character of music had been a part of traditional musicology and usually was expressed in specific language of humanities. The chapter by Daniil Shutko on the theoretical ideas of the legendary professor of St. Petersburg conservatory, Dr. Tatiana Bershadskaya, was difficult to put into any category. Her concept of music was truly universal and interdisciplinary. At the same time, the concept and Shutko's description are as closely focused on music theory in a narrow and precise sense as possible. The art and culture of consumption of wine in correlation with the choice of music for listening is a theme for a true connoisseur. It becomes even more intriguing when the authors, Diego Pérez-Fuertes, Emma Juaneda-Ayensa and Cristina Olarte-Pascual, add to the discussion the special circumstance of the pandemic and the way human spirit meets this challenge in the most graceful way.…

Condición: As New. Unread book in perfect condition.