Average Reviews:
(More customer reviews)I am currently taking a Post-Tonal graduate seminar, and we're following this book for the first half of the class. It is by far the worst book I've had to read in graduate school. I constantly find myself referring back to Forte or Straus for actual examples. I often lose track of his abbreviations, even when taking diligent notes. I definitely do not recommend this book. As of chapter 5, I've completely given up. I plan on skimming chapter six for any important words, and then I'll research those terms on my own in Forte, Straus, or even Wikipedia. Anything is better than the lengthy explanations in this book.
Click Here to see more reviews about: Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts (Eastman Studies in Music)
For the past forty years, pitch-class set theory has served as a frame of reference for the study of atonal music, through the efforts of Allen Forte, Milton Babbitt, and others. It has also been the subject of sometimes furious debates between music theorists and historically oriented musicologists, debates that only helped heighten its profile. Today, as oppositions have become less clear-cut, and other analytical approaches to music are gaining prominence, the time has come for a history of pitch-class set theory, its dissemination, and its role in the reception of the music of Schoenberg, Stravinsky, and other modernist composers. Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts combines thorough discussions of musical concepts with an engaging historical narrative. Pitch-class theory is treated here as part of the musical and cultural landscape of the United States. The theory's remarkable rise to authority is related to the impact of the computer on the study of music in the 1960s, and to the American university in its double role as protector of high culture and provider of mass education.
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