دانلود کتاب Polytempic Polymicrotonal Music

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Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Preface
Acknowledgments
Chapter 1: Introduction
1.1: The Significance of Polymicrotonal Polytempic Music
1.2: Extant Musical Works Approaching Polymicrotonality and Polytempo and the Historic Significance of Microtonality
1.3: Goals and Contents of This Chapter
1.3.1: Historical Background of Polymicrotonality and Representative Works: Exclusion of Certain Historical Figures
1.3.2: Representative Polytempic Works from the Twentieth Century
1.3.3: Literature and Works Suggesting Relationships Between Pitch and Rhythm
1.3.4: Charles Ives’s Universe Symphony and Its Legacy: Polytempic Polymicrotonal Art Music
1.3.5: Compositional Resources: Scale and Tuning Sources and Computer Music Software for the Composition and Realization of Polymicrotonality
1.3.6: What is the Difference Between Tuning and Temperament?
Chapter 2: Pitch Historical Information Leading to the Possibility of Polymicrotonality: Representative Figures and Works
2.1: Ancient Greece
2.1.1: The Pythagoreans
2.1.2: The Aristoxenians
2.1.3: Ptolemy
2.2: Europe: The Middle Ages, Renaissance, and Baroque
2.3: The Twentieth Century: The Main Protagonists
2.4: Other Twentieth-Century Microtonalists
2.5: China and Tuning
2.6: Chapter Summary
Chapter 3: Rhythm Representative Twentieth-Century Polytempic Works
3.1: Chapter Summary
Chapter 4: Pitch + Rhythm Literature and Compositions Suggesting Relationships Between Microtonal Pitch and Rhythm, In Terms of Tempo, Leading to the Union of Polymicrotonality and Polytempo: Henry Cowell, Ivan Wyschnegradsky, and Ben Johnston
4.1: Historical Methods and Thought Concerning Connections of Pitch and Rhythm by the Overtone Series
4.2: Modern Thoughts Connecting Pitch and Rhythm
Chapter 5: The Progenitor Charles Ives’s Universe Symphony and Its Legacy: Polytempic Polymicrotonal Art Music
5.1: Johnny Reinhard’s Universe Symphony Realization
5.2: Ives’s Legacy: Polytempic Polymicrotonal Art Music
5.3: Polymicrotonal Notation Techniques
5.4: Polytempo Notation, Approach, and Organization
5.5: Polymicrotonal Pitch Organization and Form
5.6: Compositional Resources: Scale and Tuning Resources and Computer Software for the Composition of Polytempic Polymicrotonal Music
Chapter 6: Conclusion
6.1: Are These Microtonal Subtleties Perceptible to the Ear?
6.2: Future Research Regarding Polytempo and Polymicrotonality
Bibliography
Review Quotes
Index