Hostname: page-component-cd9895bd7-gxg78 Total loading time: 0 Render date: 2024-12-26T08:56:33.265Z Has data issue: false hasContentIssue false
  • English
  • Français

David Kopp, Chromatic Transformations in Nineteenth-Century Music (New York: Cambridge University Press, 2002). 292 pp. $95

Published online by Cambridge University Press:  13 April 2011

Jill T. Brasky
Jill T. Brasky
Affiliation:
University of South Florida
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 4 , Issue 2 , November 2007 , pp. 157 - 160
Copyright
Copyright © Cambridge University Press 2007

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Peter Smith considers this exact passage an early example of a three-key exposition (a designation usually reserved for Brahms's sonata forms), although with the caveat that the large-scale goal of the Exposition is ultimately the F-major dominant that begins the second key area. See Smith, , ‘A Mutual Response to Sonata Form’, Music Theory Spectrum 16/1 (spring 1994): 93Google Scholar.

2 Charles Smith argues that the failing of transformational theory is its inability to distinguish between analyses because a series of transformations are not unidirectional. Nonetheless, Smith's argument may be somewhat problematic in light of Kopp's assertion in Chapter 6 that it is contemporary theory that attaches a definite direction to the Tonic–Subdominant–Dominant–Tonic paradigm. Although Riemann found this ordering more satisfying, he by no means espoused it as the way function should work. See Smith, ‘Functional Fishing with Tonnetz’, Presentation to the Annual Meeting of the Society for Music Theory (2002).