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Generalized Musical Intervals and Transformations (Anglais) Broché – 16 novembre 2010

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Description du produit

Revue de presse

Generalized Musical Intervals and Transformations, David Lewin's masterpiece, has prompted a twenty-year efflorescence in the field of mathematical and systematic music theory. GMIT leads readers to the head of a series of distinct paths, suggests by example where each path leads, and leaves readers to their own explorations. Many music theorists now spend their careers working out different aspects of the vision presented here; there is plenty and enough to go around. (Richard L. Cohn, Battell Professor of the Theory of Music, Yale University)

David Lewin's great gift was his ability to connect sophisticated mathematics to musical experience in ways that were deeply compelling, never losing sight of either the music, or the experience. Together these two volumes display both his theoretical brilliance and his sensitivity to the individuality of musical works. Most significantly, they are imbued with his unflagging dedication to and abiding love for the acts of making and understanding music. (Andrew Mead, Professor of Music, University of Michigan)

David Lewin's work is among the most important on music theory in the twentieth century. Through some of the examples of practical applications, Generalized Musical Intervals and Transformations was the inception and theoretical basis of the 'Neo-Riemannian' strand of tonal music theory. In addition, its transformational network analysis paradigm has become part of every music theorist's standard repertory for analysis, and has since been extended by Lewin himself, Klumpenhouwer, Lambert, Stoecker, Headlam, Rahn, and Mazzola among many others. The analytical essays in Musical Form and Transformations illustrate the new analytical paradigm Lewin introduced in Generalized Musical Intervals and Transformations. These seminal works on music theory are essential reading. (John Rahn, Professor of Music, University of Washington)

While David Lewin's thought had been animated for decades by some of these books' ideas---the complex significance of interval, the audibility of pitch-class inversional indices, the definition of directed motion more by context than convention---it was their concentrated presentation here that enabled many readers to assimilate them as a 'theory.' The result was a shift in the discipline's conception of its methods, even its goals, to the point where imitation of the books (of their imitable aspects) could become a career path. In a renewed encounter with the originals, we are confronted once more by Lewin's intellectual probity, his intense concern with every construction's relation to hearing (which need not mean anything so simple as that every construction is heard), his fastidious eschewal of hype. With these taken as exemplary, the field would change again. (Joseph Dubiel, Professor of Music, Columbia University)

Présentation de l'éditeur

David Lewin's Generalized Musical Intervals and Transformations is recognized as the seminal work paving the way for current studies in mathematical and systematic approaches to music analysis. Lewin, one of the 20th century's most prominent figures in music theory, pushes the boundaries of the study of pitch-structure beyond its conception as a static system for classifying and inter-relating chords and sets. Known by most music theorists as "GMIT", the book is by far the most significant contribution to the field of systematic music theory in the last half-century, generating the framework for the "transformational theory" movement. Appearing almost twenty years after GMIT's initial publication, this Oxford University Press edition features a previously unpublished preface by David Lewin, as well as a foreword by Edward Gollin contextualizing the work's significance for the current field of music theory.

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3.0 étoiles sur 5 The math was in-depth and could technically be applied to ... 20 janvier 2017
Par Adam Luhring - Publié sur
Format: Relié Achat vérifié
The math was in-depth and could technically be applied to intervals; however, the concepts didn't really provide any insight/worthwhile vocabulary for talking about music in the way various people talking about the book had made it sound they would. One example: The book boasted that its interval systems could even be applied to timbre. I had never really heard of timbre being studied theoretically (outside of a basic "this is what a spectrograph for this instrument is like" sense) and was intrigued. When I got to that section, though, it basically said you could alter timbres mathematically by, for instance, multiplying the strength of each harmonic by a particular value. That's true, but it's clearly not how timbre functions when we listen to music and doesn't give any intuition about how to build a system that does.
5.0 étoiles sur 5 Mind and ear opener. 5 juillet 2015
Par Dagfinn Koch - Publié sur
Format: Broché Achat vérifié
Yes, it's complicated. It has a learning curve I didn't know existed; but for me as a professional composer, this is a mind an ear opener. It's worth it ten fold!
21 internautes sur 28 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 One of the most important treatises on music since Rameau 9 mai 2003
Par Spencer Topel - Publié sur
Format: Relié
I have studied this book, and continue to study it. This text has been a wealth of information for my own compositional work as well as my understanding of integrated serial technique. Milton Babbitt considers David Lewin a genius and Generalized Musical Intervals and Transformations is proof of his statement. In addition to this comment he made recently after Mr. Lewin passed away, he mentioned that a fair portion of his writing remains unpublished. It is my hope that a wise publisher or institution will come along soon and see the value of this important theorist's work, and return the books that are out of print to the presses and publish as much of his remaining work as possible.
1 internautes sur 5 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Navel Gazing. 2 août 2014
Par theta - Publié sur
Format: Relié
Music theory can profit quite a bit from objective mathematical analysis, but it's well to remember that music theory can never BE mathematics. At some point in the late twentieth-century certain music theorists began to pose as mathematicians and to spend an inordinate amount of time attempting to define rigorously the terms of a proposed mathematical analysis without ever getting to the mathematical analysis itself (to say nothing of the actual music). Lewin is even worse (or better, depending on your proclivities). His "generalization" is not even specific to notes or rhythms or instrumentation. Instead we have musing about mathematical group theory in the abstract. I wouldn't mind so much if his prose style were not so hideously pompous. In any case, I don't see how anything is to be gained.
2 internautes sur 11 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Horrible 24 juillet 2014
Par Gene De Lisa - Publié sur
Format: Broché
" recognized as the seminal work ..." by whom? I'm going to have to drop you a letter grade for using passive voice.

This is a publish or perish tome. Music theory has jumped the shark with writings like this.
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