MTU Cork Library Catalogue

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In praise of harmony : the teachings of Abbé Georg Joseph Vogler / Floyd K. Grave and Margaret G. Grave.

By: Grave, Floyd K. (Floyd Kersey), 1945-.
Contributor(s): Grave, Margaret G, 1943-.
Material type: materialTypeLabelBookPublisher: Lincoln : University of Nebraska Press, [1988], c1987Description: viii, 338 p. : music ; 24 cm.ISBN: 0803221282 (alk. paper).Subject(s): Vogler, Georg Joseph, 1749-1814 | HarmonyDDC classification: 781.25
Holdings
Item type Current library Call number Copy number Status Date due Barcode Item holds
General Lending MTU Cork School of Music Library Lending 781.25 (Browse shelf(Opens below)) 1 Available 00140264
General Lending MTU Cork School of Music Library Lending 781.25 (Browse shelf(Opens below)) 1 Available 00140337
Total holds: 0

Enhanced descriptions from Syndetics:

In Praise of Harmony is the first critical and biographical study of Vogler to appear in English.

Bibliography: p. [311]-330 - Includes index.

Table of contents provided by Syndetics

  • Acknowledgments (p. vii)
  • Introduction (p. 1)
  • Chapter I the Science of Harmony: Foundations for an Enlightened System (p. 13)
  • Chapter 2 Harmonic Analysis and the Principle of Reduction (p. 50)
  • Chapter 3 Progress and Restoration: the Lessons of Enlightened Criticism (p. 85)
  • Chapter 4 Theory and Practice in Music for the Church (p. 124)
  • Chapter 5 Music and Drama (p. 178)
  • Chapter 6 the Performer and His Medium (p. 227)
  • Epilogue (p. 267)
  • Notes (p. 277)
  • Bibliography (p. 311)
  • Index (p. 331)

Reviews provided by Syndetics

CHOICE Review

An absolute must for graduate school libraries and strongly recommended for undergraduate music libraries. The Graves begin with a superb introduction that places Vogler's work historically, and follow with an impressively clear, concise overview of his harmonic theories. After pronouncing Vogler the inventor of our modern-day system of Roman-numeral analysis, the authors make a very convincing case for putting Vogler, a "self-styled maverick," into better focus in the history of music theory. One of this book's greatest strengths lies in its continuous and accurate comparisons between Vogler's work and that of his contemporaries. An undergraduate audience will appreciate the well-balanced approach. Vogler's theories of harmony do not stand alone in this work; they complement his ideas about organ design, performance practice, and composition. The breadth of this study is presented through an engaging writing style, technical when necessary and charming otherwise. The Graves' analysis is not a translation; the extensive endnotes and thorough bibliography will direct readers to the appropriate primary sources. -A. K. McNamee, Swarthmore College

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