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Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century by Megan Kaes Long (Assistant Professor of Music Theory, Assistant Professor of Music Theory, Oberlin College Conservatory of Music) at Abbey's Bookshop,
Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century
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Megan Kaes Long (Assistant Professor of Music Theory, Assistant Professor of Music Theory, Oberlin College Conservatory of Music)

Hearing Homophony

Tonal Expectation at the Turn of the Seventeenth Century

Megan Kaes Long (Assistant Professor of Music Theory, Assistant Professor of Music Theory, Oberlin College Conservatory of Music)

$163.95

Hardback

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English
Oxford University Press Inc
24 July 2020
Theory of music & musicology; Medieval & Renaissance music (c 1000 to c 1600)
Series: Oxford Studies in Music Theory
The question of tonality's origins in music's pitch content has long vexed many scholars of music theory. However, tonality is not ultimately defined by pitch alone, but rather by pitch's interaction with elements like rhythm, meter, phrase structure, and form. Hearing Homophony investigates the elusive early history of tonality by examining a constellation of late-Renaissance popular songs which flourished throughout Western Europe at the turn of the seventeenth century. Megan Kaes Long argues that it is in these songs, rather than in more ambitious secular and sacred works, that the foundations of eighteenth century style are found. Arguing that tonality emerges from features of modal counterpoint - in particular, the rhythmic, phrase structural, and formal processes that govern it - and drawing on the arguments of theorists such as Dahlhaus, Powers, and Barnett, she asserts that modality and tonality are different in kind and not mutually exclusive.

Using several hundred homophonic partsongs from Italy, Germany, England, and France, Long addresses a historical question of critical importance to music theory, musicology, and music performance. Hearing Homophony presents not only a new model of tonality's origins, but also a more comprehensive understanding of what tonality is, providing novel insight into the challenging world of seventeenth-century music.
By:  
Imprint:   Oxford University Press Inc
Country of Publication:   United States
Dimensions:   Height: 155mm,  Width: 239mm,  Spine: 23mm
Weight:   558g
ISBN:   9780190851903
ISBN 10:   0190851902
Series:   Oxford Studies in Music Theory
Pages:   300
Publication Date:  
Audience:   Professional and scholarly ,  Undergraduate
Format:   Hardback
Publisher's Status:   Active

Megan Kaes Long is Assistant Professor of Music Theory at Oberlin College Conservatory of Music. Her work explores sixteenth- and seventeenth-century secular song traditions, the theories that describe them, and the ways in which they inform the histories of modality and tonality.

Reviews for Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century

Hearing Homophony convinces me that European tonality's fundamental structures were shaped by vernacular poetry, and by the task of preserving its rhyme and meter in tuneful musical settings. Long's brilliantly insightful contribution to the theory of tonality is just as entertaining and accessible as the repertories she analyzes. * Ian Quinn, Professor of Music, Yale University * Hearing Homophony is remarkable both for the accessibility of Prof. Long's prose, and for the originality of her ideas. Long has crafted an innovative theory of tonality's origins precisely by focusing on features that theorists of tonality often disregard: rhythm, texture, and text-setting. * Kyle Adams, Jacobs School of Music, Indiana University *


  • Winner of Winner, 2021 Wallace Berry Award, Society for Music Theory.

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