David Damschroder is Professor of Music Theory at the University of Minnesota. His research focuses on harmony in tonal music, a project that began with a careful examination of historical analytical practices, the basis for his Thinking about Harmony: Historical Perspectives on Analysis (Cambridge, 2008). He has since published studies on harmony in selected composers including Haydn, Mozart, Beethoven, Schubert, and Chopin, and he is the author of Tonal Analysis: A Schenkerian Perspective (2017).

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A creative and accessible harmonic analysis of major works by key composers, demonstrating innovative methods in harmonic theory with sound examples.

Résumé
Presents a radical reformulation of harmonic theory and analysis, using sound files as well as notated music examples. Early chapters guide readers in developing a new and practical perspective on harmony, and later chapters explore particular nineteenth-century compositions in comparison with other analysts' work.

Contenu

Part I. Methodological Orientation: Harmonic Analysis through Listening: 1. Foundation diatonic processes; 2. Surges; 3. IV5-6 V; 4. I5-6 II; 5. Surging 6-Phase chords; 6. Surges with ninths; 7. Colorful variants of II; 8. III along the path from I to V; Part II. Masterpieces: 9. Mendelssohn: Octet in E Major (op. 20), Movement 1 in Response to Greg Vitercik and Benedict Taylor; 10. Mendelssohn: song without words in F Major (op. 85/1) in response to Allen Cadwallader; 11. Schumann: 'Warum?' from Phantasiestücke (op. 12) in Response to L. Poundie Burstein; 12. Mendelssohn: song without words in A Major (op. 53/1) in response to Yosef Goldenberg; 13. Schumann: three songs from Liederkreis (op. 39) in Response to Charles Burkhart and David Ferris; 14. Schumann: 'Im wunderschönen Monat Mai' from Dichterliebe (op. 48, no. 1) in response to Deborah Stein; 15. Schumann: Sonata in A Minor for violin and piano (op. 105) in response to Peter H. Smith.