German Harmonielehren, 1800-1854: An annotated bibliography with discussion of the societal and technological factors in their development and publication

Persistent Link:
http://hdl.handle.net/10150/282202
Title:
German Harmonielehren, 1800-1854: An annotated bibliography with discussion of the societal and technological factors in their development and publication
Author:
McGinnis, Julie Kay, 1959-
Issue Date:
1996
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
As a result of the French Revolution and its aftermath, the early nineteenth century saw substantial social changes in Germany which fueled unprecedented activity in the field of music theory. The more progressive democratic spirit introduced to Germany by early Napoleonic reforms was a major factor in the solidifying of a real class consciousness among the bourgeoisie and, perhaps more importantly, a strong sense of pride in this newly defined identity. This fact helps to explain the increased public interest in the more sophisticated aspects of music such as wazzu music theory, and the founding of music institutes to satisfy these new demands. The ability of musicians to pursue teaching as a profession, coupled with technological innovations in the printing and publishing industries, enabled music theorists to publish their pedagogical methods and theoretical notions. These publications, collectively referred to as the German Harmonielehren, contain important innovations in music theory pedagogy. During the fifty year period, between 1800-1854, music theorists explored different approaches to music theory pedagogy, including the use of musical example to clarify concepts presented, different labeling public systems, and different styles of the presentation of musical concepts. These authors, generally forgotten or unacknowledged today, provide the groundwork for the unified system of labeling and terminology available to and used by today's musicians and students of music. This work includes an annotated bibliography of one hundred eighty-seven Harmonielehren. The purpose ofthe bibliography is to identify the main historical contributors to this field, and, to highlight their individual innovations and most important works. The books are briefly summarized according to content and purpose, stylistic approach, use of musical examples, chord labeling systems and library location.
Type:
text; Dissertation-Reproduction (electronic)
Keywords:
History, European.; Music.; Education, Music.
Degree Name:
Ph.D.
Degree Level:
doctoral
Degree Program:
Graduate College; Music and Dance
Degree Grantor:
University of Arizona
Advisor:
Kolosick, J. Timothy

Full metadata record

DC FieldValue Language
dc.language.isoen_USen_US
dc.titleGerman Harmonielehren, 1800-1854: An annotated bibliography with discussion of the societal and technological factors in their development and publicationen_US
dc.creatorMcGinnis, Julie Kay, 1959-en_US
dc.contributor.authorMcGinnis, Julie Kay, 1959-en_US
dc.date.issued1996en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractAs a result of the French Revolution and its aftermath, the early nineteenth century saw substantial social changes in Germany which fueled unprecedented activity in the field of music theory. The more progressive democratic spirit introduced to Germany by early Napoleonic reforms was a major factor in the solidifying of a real class consciousness among the bourgeoisie and, perhaps more importantly, a strong sense of pride in this newly defined identity. This fact helps to explain the increased public interest in the more sophisticated aspects of music such as wazzu music theory, and the founding of music institutes to satisfy these new demands. The ability of musicians to pursue teaching as a profession, coupled with technological innovations in the printing and publishing industries, enabled music theorists to publish their pedagogical methods and theoretical notions. These publications, collectively referred to as the German Harmonielehren, contain important innovations in music theory pedagogy. During the fifty year period, between 1800-1854, music theorists explored different approaches to music theory pedagogy, including the use of musical example to clarify concepts presented, different labeling public systems, and different styles of the presentation of musical concepts. These authors, generally forgotten or unacknowledged today, provide the groundwork for the unified system of labeling and terminology available to and used by today's musicians and students of music. This work includes an annotated bibliography of one hundred eighty-seven Harmonielehren. The purpose ofthe bibliography is to identify the main historical contributors to this field, and, to highlight their individual innovations and most important works. The books are briefly summarized according to content and purpose, stylistic approach, use of musical examples, chord labeling systems and library location.en_US
dc.typetexten_US
dc.typeDissertation-Reproduction (electronic)en_US
dc.subjectHistory, European.en_US
dc.subjectMusic.en_US
dc.subjectEducation, Music.en_US
thesis.degree.namePh.D.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.disciplineMusic and Danceen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorKolosick, J. Timothyen_US
dc.identifier.proquest9720572en_US
dc.identifier.bibrecord.b34504564en_US
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