Shirlaw.Matthew The Theory of Harmony, An Inquiry into The Natural Principles of Harmony, with an Examination of The Chief Systems of Harmony from Rameau to The Present Day

London 1917 year, - 512 pages.
Musical Harmony.
Musical Harmony from Rameau.Jean.Philippe.
CONTENTS.
PART I.
Preface.
Chapter I. PAGE.
The Consonan'ces of Polyphony : Figured Bass
Schools and the Classification of Chords... i — 28
Chapter II.
Gioseffo Zarlino (1517-90) and the Generation
of Harmony : Nature and Influence of his Work
as a Theorist: Rene Descartes (i 596-1650)
{Compendium Miisicae, 161 8)... 29 — 62
Chapter III.
Jean Philippe Rameau (168 3-1 764): Traite de
VHarmonie : Harmonic Generation and the
Inversion of Chords : The Minor Harmony:
Origin of the Theory of Chord Generation by
means of Added Thirds : Chords of the Seventh:
Chords by " Supposition " : Resolution of Dis-
sonances: Resume of Rameau's Theories of
Chord Generation... 63 — 97
Chapter IV.
Rameau's Traite de FHarmonie (continued) : The
Fundamental Bass : The Cadence • Nature and
Functions of Chords : Determination of "Key ":
Necessity for Dissonance in Music : Melody
has its Origin in Harmony : The Nature and
Constitution of the Scale... 98 — 133
PART II.
(Chapter V.
Rameau's Nouveau Systeme de Musique
Theorique : Relationship of Harmony and
the Fundamental Bass to Mathematical Pro-
gressions : Theory of the Subdominant : The
Major and Minor Modes : The Chromatic Scale:
Nature and Origin of Tone-Systems... 134 — 154
Chapter VI. PAGE. I
Rameau's Generation Harmonique and Demon-
stration du Principe de VHarmonie : Harmony |
a Physico-Mathematical Science : Objections to
Rameau's Theories by Berlioz, Fetis, and others i 5 5— 1 8 1
Chapter VII.
Rameau's Generation Harmonique and Demon-
stration {continued): The Diatonic System
(Major Mode) : Harmonic Dissonance : ' Double
Employment" of Dissonance: Chord of the
"Added Sixth": Examination of Rameau's
Views concerning the Origin and Nature of the
Key-System : Difficulties in Connection with
the Subdominant : Helmholtz's Theory of the
Origin of Scales: Difficulties Connected with
the Tritone: Chord of the "Added Sixth":
" False Intervals " of the Scale : Temperament,
its Theory and Practice 182 218
Chapter VIII.
Rameau's Generation Harmonique and Demon-
stration (continued): The Minor Harmony:
The Minor Mode : Further Development of
Rameau's Views respecting the Minor Harmony:
Relationship of the Major and Minor Modes:
Anticipation of Helmholtz's Theory of the
Minor Harmony : the Chromatic (ienus : Origin
of the Chromatic Scale : the Enharmonic Genus:
the Use made of Quarter-tones in Modern
Music: Other Aspects of Rameau's Theory... 219—254
Chapter IX.
Other Theoretical Works of Rameau : Code de
Musique Pratique : Nouvelles Reflexions sur
la Demonstration du Principe de VHarmonie:
Nouvelles Reflexions sur le Principe Sonore:
The Minor Harmony: The Subdominant:
Generation of the Major Mode : Origin of
Dissonant Chords: Contemporary Criticism
of Rameau's Doctrines : Rameau and the
"Encyclopedists" ••• 255—285
PART III.
Chapter X. PAGE.
Development of the Theory of Harmony from the/
time of Rameau up to the present day : Tartini'S
Trattato di Musica (1754) .• The Principle of
Harmony is independent of human will : Resul-
tant Tones : Physical Root of the Harmonic
System : The Arithmetical as well as the
Harmonic Division of the Octave, and of the
Fifth, is a necessity of the Harmonic System:
The Minor Harmony arises from the same
Principle as the Major : Origin of the Key-
System : Origin of Harmonic Dissonance.
G. A. '&o\\ov.{Vorgemach der Musikalischen
Kompositioii, 1745-47): Generation of Chords:
Theoretical Importance of Chord of the
Dominant Se:verrth.
F. \V. Mar>wg (Systematische Einleitung
in die mnsikalische Setzkinist, 1757,
Handbiich bei dem General basse und der
Composition, 1755-58, etc.): Development of
the Added-Third Theory of Chord Generation:
Chords of the "Ninth," "Eleventh," and
"Thirteenth": Sorge and Marpurg on the
Origin of the Chord of the Diminished Seventh 286 — 316
Chapter XL
J. P. KiRNBERGRk (1721-83): Reaction against
Marpurg's doctrines : Significance of the Leading-
note : All Harmony comprised in the Triad and
Chord of the Seventh : " Essential " and " Non-
essential " Discords : Origin of the Chord of the
Augmented Sixth.
Other Theorists of the end of the i8th
and beginning of the 19th centuries: P. J.
Roussier ; Abbe Vogler : G. Weber : L. A.
Sabbatini : C. S. Catel, etc.
F. J. Fetis (i 784-1 871) and the Doctrine of
Tonality : The " Laws]' of Tonality ; Change
from the Old to the New World of Harmonic
Music brought about by Monteverde's introduc-
tion of the Chord of the Dominant Seventh:
The Chord of the Dominant Seventh a Natural
Discord: Chord Relationship and Succession:
" Altered " and " Chromatically Altered " Chords 3 1 7 — 3 5
Chapter XII. page.
MoRiTz Hauptmann ( 1 792-1 868) and the Nature of
Harmony : Rejection of the Partial-tone Theory:
The real Basis of Harmony : Octave, Fifth and
Major Third the only "directly intelligible"
Intervals : The Key-system ; Secondary Triads
of the Key-system : Origin of Discords:
Diminished Triads and the Chord of the
'Added Sixth ": Resolution of Dissonant Chords:
The Chromatic Scale : The Minor Harmony:
Chord Relationship and Succession.
H. L. ¥. Helmholtz (The Sensations of
Tone, 1863): The Major Harmony: Minor
Harmony and the Chord of the '.' Ad4ed Sixth ":
Origin of Dissonant Chords : Tonality : Theory
of Consonance and Dissonance.
Ottingen and the Dual Nature of Harmony.
Dr. H. RiEMAtii^ {Die Natur der Harmonik,
1882; Harmony Simplified, 1893, etc.): The
"Under-tone Series": The "Tonal Functions"
of Chords: "Overklangs" and " Underklangs ":
The Key-system : Characteristic Discords:
Parallel-klangs : Melodically altered Chords:
Chord Succession... 352 — 410
Chapter XIII,
English Theorists : Day's Treatise on Harmony
(1845) : Diatonic and Chromatic Harmony : The
Key-system : Natural Discords : Day's
Fundamental Bass : System of " Roots " : Minor
Harmony and Minor Mode : The Subdominant:
The Augmented Triad.
Macfarren's Rudiments of Harmony
(i860) and Six Lectures on Harmony (1867).
Ouselev's Treatise on Harmony (1868).
Stainer's Theory of Harmony (1871) : The
Tempered Scale : Added Third Generation of
Chords : The Third "The Basis of all Harmony."
E. Prout {Harmony : its Theory and
Practice, 20th ed., 1903) : Resuscitation of
Day's Theory : Subsequent Abandonment of the
Harmonic Series as the Basis of Harmony:
Origin of Discords : the Subdominant:
Secondary Discords : Chord Succession:
" Tonality " and the " Melodic Tendencies "
of the Sounds of the Scale... 411 — 452
Chapter XIV.
RESUME and Conclusion •••... ••• 453 — 484