Harmony in Motion: key-defining progression and agogic progression

簡介

本著作以引導聲部加上對位法則作為研究方法之基礎，將確認調進行 (key-defining progression) 及一對一對位的二聲部的聲部結構(voice structure)結合，從而延伸為三聲部或四聲部的引導聲部織體，以此作為線條流動方向及 agogic progression 的依據。具體將 Palestrina-Fux-Bach 的傳承，化為 agogic progression 在詮釋與表達的理論基礎，將傳統 agogic 在個別音符的流動擴展為三到四聲部的線條流動的 agogic progression 。

硏究取向以和弦擴充(chord prolongation)及和聲進行為基底， agogic progression 發展出以聲部結構為經，確認調進行為緯，專注在三或四聲部的聖詠曲織體，成功地將個別音符的 agogic 延伸為流動的多聲音片 agogic progression。

Tonal music is an art language with highly civilized products. As an art form, the vocabularies, syntax and techniques are integrated as one to portray the vast varieties of music emotion.

Agogic is exactly such term used to describe human feeling and emotion. It not only describes degrees of speed, but also refers to the character of a composition. Since, the variety of agogic terms appearing on scores to describe all shades of human feeling and emotion.

Music theory teaching should not be detached from human sentiment. Agogic, to author's view, is embedded in harmonic progression. She proposes agogic progression to denote the motion of voice leading and direction within a particular time span.

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目次

Foreword 5
Introduction-Perahia Masterclass 15
I. Regarding motion in Tonal Music 23
Interlude I-Contribution of Palestrina 38
II. Basics
Scale Degrees, Intervals, and Key-Defining Progressions 43
Interlude II-Concept of the Chorale and the Motion of Key-Defining Progression 52
III. The Shaping Forces in Tonal Music
Voice Leading and Voice Structure 61
Interlude III-Contribution of Bach 85
IV. Motions Through Chord Prolongation and Deviation 93
Interlude IV-Concept of Agogic 123
V. Analysis of Music of Common Practice 151
Interlude V-Harmony in Motion Exploring the Art of Voice Leading 196
VI. Motion and Emotion in Tonal Music 203
Beethoven, An die ferne Geliebte, Op. 98 207
Brahms, Liebestreu, Op. 3 No. 1 in Eb Minor 232
Coda-Tonal Music and Its Legacy 242
VII. Supplements 245
Appendix I List of Bach Chorales and repertoire used in class discussion 291
Appendix II Handouts used in class discussion 301
Appendix III Sketches of reductions 327
Appendix IV Music Scores for Introduction & Chapter VI 353
Appendix V Student Analyses 385
游承霖-Schubert, String Quintet in C Major, Op. 163 (D. 956), Adagio 386
林昱君-Brahms, Intermezzo, Op. 118 No. 2 in A Major 396
江雅芸- Beethoven, Piano Sonata No. 22 in F Major, Op. 54, Adagio con molto espressione 405
周　芯-Mozart, "Gran Partita" Serenade No. 10 in Eb Major, K 361, Adagio 419
Index 437
Bibliography 443