Roots of the Classical identifies and traces to their sources the patterns that make Western classical music unique, setting out the fundamental laws of melody and harmony, and sketching the development of tonality between the fifteenth and eighteenth centuries. The author then focuses on the years 1770-1910, treating the Western music of this period - folk, popular, and classical - as a single, organically developing, interconnected unit in which the popular idiom was constantly feeding into 'serious' music, showing how the same patterns underlay music of all kinds.
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Revue de presse
'...a marvellously stimulating new book.' (Martin Kettle, The Guardian )
...looks beyond the traditional sources, examining the importance of styles from alternative repertoires such as children's song and dances of Central Europe. The Strengths of this book are the breadth of Van de Merwe's examples and his perspective, which is relatively free of the value judgements placed on the selected repertoires. (Choice )
...a marvellously stimulating and important book: a masterpiece of canny observation, a miracle of effective organization, a model of colourful, pungent writing, and an ear-opener that should be read and pondered by all scholars and musicians who deal with music of the eighteenth, nineteenth, and twentieth centuries in any and all of it genres. (Music and Letters, Vol. 88, No. 1 ) --Ce texte fait référence à l'édition Relié .
...looks beyond the traditional sources, examining the importance of styles from alternative repertoires such as children's song and dances of Central Europe. The Strengths of this book are the breadth of Van de Merwe's examples and his perspective, which is relatively free of the value judgements placed on the selected repertoires. (Choice )
...a marvellously stimulating and important book: a masterpiece of canny observation, a miracle of effective organization, a model of colourful, pungent writing, and an ear-opener that should be read and pondered by all scholars and musicians who deal with music of the eighteenth, nineteenth, and twentieth centuries in any and all of it genres. (Music and Letters, Vol. 88, No. 1 ) --Ce texte fait référence à l'édition Relié .
Biographie de l'auteur
Peter Van der Merwe was born in Cape Town of Boer and Irish stock. He has studied at the College of Music in his native city but is virtually self-taught as musician and musicologist. He divides his time between the study of music and work as a cataloguer at the municipal library in Pietermaritzburg, South Africa. His first book, Origins of the Popular Style, was published by O.U.P. in 1989.
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At an open-air service on the island of Skye, Ralph Vaughan Williams once heard a sermon in Gaelic, a language he did not understand. Lire la première page
Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
At an open-air service on the island of Skye, Ralph Vaughan Williams once heard a sermon in Gaelic, a language he did not understand. Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Interesting alternative view of music history
23 novembre 2008
Par Stephen D. Kahn
- Publié sur Amazon.com
This book is a bold departure from the mainstream view of the progressive complication of harmony in classical music from 1500 to 1910. I have read through several standard theory texts--and gone through theory sequences at two music schools--and the usual explanation is that people's ears mysteriously got used to wilder and wilder dissonances. If any reason for this development is adduced, it is the rise of industrial capitalism and its attendant folkways. While this may satisfy my curiosity at a sociological level, it doesn't shed too much light on things that interest me more at a purely musical level--why, for instance, the bVI key area became such a hallmark of music of the second half of the 19th Century, particularly in Brahms.
Van der Merwe takes the view that a great deal of this practice percolated through from popular and folk music of the day and the Gypsy "Fringe" of Eastern Europe. Vienna, in particular, was open to such influences, being a crossroads of a multi-cultural empire; and many of the leading composers of the day made it their home. He demonstrates convincingly that many of the "strange new harmonies" of the day were simply borrowings from the Fringe--things you could hear in the street if you listened hard enough.
He further shows how a lot of folk music (including children's teasing songs, our 'earliest' music) has a pentatonic structure, and that this, too, was important in art music one would not usually think of as pentatonically-inspired.
Van der Merwe, who is not a professor of music, holds marked, unorthodox views, which are entertainingly expressed. Yet he writes with great erudition and without crankishness.
At times the thread can be hard to follow and one must go back over sections a few times. This isn't a book to plow through! But if you're looking for a new explanation of why music developed as it did, this book will open new vistas for you. (Note: there are many musical examples in the book--if you don't read music, you will be lost.)
Van der Merwe takes the view that a great deal of this practice percolated through from popular and folk music of the day and the Gypsy "Fringe" of Eastern Europe. Vienna, in particular, was open to such influences, being a crossroads of a multi-cultural empire; and many of the leading composers of the day made it their home. He demonstrates convincingly that many of the "strange new harmonies" of the day were simply borrowings from the Fringe--things you could hear in the street if you listened hard enough.
He further shows how a lot of folk music (including children's teasing songs, our 'earliest' music) has a pentatonic structure, and that this, too, was important in art music one would not usually think of as pentatonically-inspired.
Van der Merwe, who is not a professor of music, holds marked, unorthodox views, which are entertainingly expressed. Yet he writes with great erudition and without crankishness.
At times the thread can be hard to follow and one must go back over sections a few times. This isn't a book to plow through! But if you're looking for a new explanation of why music developed as it did, this book will open new vistas for you. (Note: there are many musical examples in the book--if you don't read music, you will be lost.)
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