KEYWORDS: Tymoczko, geometry, chords, voice leading, scales, tonality, some brute facts in Tymoczko’s new book A Geometry of Music (henceforth AGOM). A Geometry of Music has 69 ratings and 6 reviews. Peter said: Tymoczko is an intriguing composer and adept mathematician, so his mix of math and (lots of. Dmitri Tymoczko: A Geometry of Music: Harmony and. Counterpoint in the Extended. Common Practice. Hardcover, , ISBN , pages.

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Nov 15, Peter rated it it was amazing.

Vedad FamourZadeh rated it it was amazing Jul 06, The audio may be beneficial heometry those who have difficulty playing or aurally imagining the examples, but the synthesized sound will be off-putting to many listeners, and there are occasional mismatches between printed examples and their audio counterparts. Tymoczko is an intriguing composer and adept mathematician, so his mix of math and lots of theory tymocsko be extremely thought-provoking for readers familiar with both.

Son Melo rated it it was amazing Mar 06, The first part of the book explores theoretical questions about how these properties can be combined.

Stuart Duncan rated it it was amazing Mar 21, Spatially proximate chords often function in similar ways, and in many musical contexts a chord may often be substituted for one of its near neighbors. Music by Stravinsky, Glass, and Bill Evans, for example, falls comfortably within this compass, thus addressing what Tymoczko perceives as a failing of his own musical education, in which these composers were marginalized.


An extremely stimulating read! The mathematical understanding is by no means necessary, however. In A Geometry of Music, [6] Tymoczko proposes a general framework for thinking about tonality, arguing that there are five basic features that jointly contribute to the sense of tonality:. He is married to the philosopher Elisabeth Campwith whom he has a son Lukas and a daughter Katya.

Metamorphosis in Muxic Benjamin R. Though AGOM is in many ways meticulously documented—Tymoczko is generous with citations of opinions that differ from his own, and the bibliography fills ten small-print pages—it occasionally gives the impression of disowning its own heritage, and therefore perhaps of being even more iconoclastic than it actually is.

Macroharmony and Centricity 5. They may help composers and musicians to ‘see’ new possibilities within that intricate labyrinth, as well as to bring the old ones to life anew. Tymoczko identifies five basic musical features that jointly contribute to the sense of tonality, and shows how these features recur throughout the history of Western music. Grieg’s “Klokkeklang,” Bell RingingOp.

Stoica Ionut rated it it was ok Apr 17, Sean Mckinney rated it did not like it Jan 03, Sep 19, David rated it liked it. University of Pennsylvania Press.

A Geometry of Music – Dmitri Tymoczko – Oxford University Press

Dmitri Tymoczko is a composer and music theorist. This document and all portions thereof are protected by U. Parts 2 and 3.

The interscalar interval matrix. There are no discussion topics on this book yet.

What results is a systematic perspective on the geomdtry of chord-based graphs. Veometry, most of the errors I spotted are of the sorts that many readers will likely pass over without notice or will yeometry with little difficulty: Academic Skip to main content. Choose your country or region Close. It is only a small step from compositional strategies to broad pronouncements about style: Joshua Kosman, writing at SFGate, called it “whimsical,” “ingenious,” and with a “rich emotional arc” produced by a “warmth of personality that is distinctive.


Readers looking for coverage of the OPTIC spaces in their full generality still have no alternative to the technical presentation in Science. Tymoczko is an excellent composer and all of this must make sense in his head to the degree that he us I noticed that at least a couple of reviewers said that they didn’t really get the math.

How is the Beatles’ “Help!

A Geometry of Music

Jun 19, Vladimir rated it it was amazing. To form the complete space, the two triangular ends of the prism in Figure 1 must be glued together with a twist, so that the two corners representing the triple unison CCC are superimposed. After being asked to leave the philosophy D.

Nor am I sure that anyone else has seriously applied his analytic methodology to a range of musical pieces. Laitz and Ian Sewell. The harmonies in a passage of music, whatever they may be, tend to be structurally similar to one another.

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