Thomas Christensen (Editor). The Cambridge History of Western Music Theory. (Cambridge History of Music.) xxiv + 998 pp., illus., fig., tables, indexes. Cambridge: Cambridge University Press, 2002. $150 (cloth).

Isis ◽

10.1086/379408 ◽

2003 ◽

Vol 94 (2) ◽

pp. 343-345

Author(s):

Dmitri Tymoczko

Keyword(s):

Music Theory ◽

Western Music ◽

Cambridge University ◽

History Of

Get full-text (via PubEx)

Thomas Christensen, dir., The Cambridge History of Western Music Theory. Cambridge: Cambridge University Press, 2002. xxiii, 998 p. ISBN 0-521- 62371-5 (couverture rigide)

Intersections Canadian Journal of Music ◽

10.7202/1013314ar ◽

2005 ◽

Vol 25 (1-2) ◽

pp. 233

Author(s):

Bruno Gingras

Keyword(s):

Music Theory ◽

Western Music ◽

Cambridge University ◽

History Of

Get full-text (via PubEx)

■ The Cambridge History of Western Music Theory. Edited by Thomas Christensen. Cambridge University Press, 40 W 20th St., New York, NY 10011; 845-353-7500; wwwcambridge.org. Hardcover, 2002; paperback, 2006. 1,024 pp. Black-and-white figures, music examples, indexes. Hardcover, $190.00; paperback, $45.00

Music Educators Journal ◽

10.1177/002743210709300405 ◽

2007 ◽

Vol 93 (4) ◽

pp. 18-18

Author(s):

Elizabeth Fetters

Keyword(s):

New York ◽

Music Theory ◽

Western Music ◽

Cambridge University ◽

Black And White ◽

History Of

Get full-text (via PubEx)

The Cambridge History of Western Music Theory

Music Educators Journal ◽

10.2307/4127121 ◽

2007 ◽

Vol 93 (4) ◽

pp. 18

Author(s):

Elizabeth Fetters ◽

Thomas Christensen

Keyword(s):

Music Theory ◽

Western Music ◽

History Of

Get full-text (via PubEx)

The Cambridge History of Twentieth Century Music edited by Nicholas Cook and Anthony Pople. Cambridge University Press, £100.00 / $160.00. The Oxford History of Western Music by Richard Taruskin. Oxford University Press, £425.00 / $699.00.

Tempo ◽

10.1017/s0040298206210052 ◽

2006 ◽

Vol 60 (235) ◽

pp. 50-57

Author(s):

Rodney Lister

Keyword(s):

Twentieth Century ◽

Western Music ◽

Cambridge University ◽

Oxford University ◽

Twentieth Century Music ◽

History Of ◽

Oxford University Press

Get full-text (via PubEx)

Review: The Cambridge History of Western Music Theory, edited by Thomas Christensen

Journal of the American Musicological Society ◽

10.1525/jams.2004.57.3.645 ◽

2004 ◽

Vol 57 (3) ◽

pp. 645-651

Author(s):

Arnold Whittall

Keyword(s):

Music Theory ◽

Western Music ◽

History Of

Get full-text (via PubEx)

The Cambridge History of Western Music Theory

10.1017/chol9780521623711 ◽

2002 ◽

Cited By ~ 20

Keyword(s):

Music Theory ◽

Western Music ◽

History Of

Get full-text (via PubEx)

A Concise History of Western Music2006434Paul Griffiths. A Concise History of Western Music. Cambridge: Cambridge University Press 2006. ix+348 pp. £25; $35, ISBN: 0 521 84294 5

Reference Reviews ◽

10.1108/09504120610709691 ◽

2006 ◽

Vol 20 (8) ◽

pp. 43-43

Author(s):

Stella Thebridge

Keyword(s):

Western Music ◽

Cambridge University ◽

History Of

Get full-text (via PubEx)

■ A Concise History of Western Music. By Paul Griffiths. Cambridge University Press, 32 Avenue of the Americas, New York, NY 10013; 212-337-5057; www.cambridge.org/us/. 2006. 360 pp. Glossary, reading and listening lists, index. Hardcover, $35.00

Music Educators Journal ◽

10.1177/002743210709300506 ◽

2007 ◽

Vol 93 (5) ◽

pp. 20-21

Author(s):

Geary Larrick

Keyword(s):

New York ◽

Western Music ◽

Cambridge University ◽

History Of ◽

Paul Griffiths

Get full-text (via PubEx)

The Tonic as Triad: Key Profiles as Pitch Salience Profiles of Tonic Triads

Music Perception An Interdisciplinary Journal ◽

10.1525/mp.2011.28.4.333 ◽

2011 ◽

Vol 28 (4) ◽

pp. 333-366 ◽

Cited By ~ 22

Author(s):

Richard Parncutt

Keyword(s):

Music Theory ◽

17Th Century ◽

Western Music ◽

Tonal Music ◽

Theoretical Concepts ◽

Music Psychology ◽

History Of ◽

History Of Composition ◽

And Inversion ◽

Tonic Triad

Major and minor triads emerged in western music in the 13th to 15th centuries. From the 15th to the 17th centuries, they increasingly appeared as final sonorities. In the 17th century, music-theoretical concepts of sonority, root, and inversion emerged. I propose that since then, the primary perceptual reference in tonal music has been the tonic triad sonority (not the tonic tone or chroma) in an experiential (not physical or notational) representation. This thesis is consistent with the correlation between the key profiles of Krumhansl and Kessler (1982; here called chroma stability profiles) and the chroma salience profiles of tonic triads (after Parncutt, 1988). Chroma stability profiles also correlate with chroma prevalence profiles (of notes in the score), suggesting an implication-realization relationship between the chroma prevalence profile of a passage and the chroma salience profile of its tonic triad. Convergent evidence from psychoacoustics, music psychology, the history of composition, and the history of music theory suggests that the chroma salience profile of the tonic triad guided the historical emergence of major-minor tonality and continues to influence its perception today.

Get full-text (via PubEx)

The Cambridge history of Western music theory

Choice Reviews Online ◽

10.5860/choice.40-2078 ◽

2002 ◽

Vol 40 (04) ◽

pp. 40-2078-40-2078

Keyword(s):

Music Theory ◽

Western Music ◽

History Of

Get full-text (via PubEx)