On May 10, 1:19 pm, "Tom K." <tkor...@[EMAIL PROTECTED]
> wrote:
> "LJS" <ljsche...@[EMAIL PROTECTED]
> wrote in message
>
>
news:0f228fef-dd78-4c93-b2d2-e11457c174c8@[EMAIL PROTECTED]
>
> > On May 10, 9:30 am, "Tom K." <tkor...@[EMAIL PROTECTED]
> wrote:
> >> "David Raleigh Arnold" <darno...@[EMAIL PROTECTED]
> wrote in
> >> messagenews:pan.2008.05.10.07.39.05@[EMAIL PROTECTED]
>
> >> >What is CPP?
>
> >> "Common Practice Period" or "Period of Common Harmonic Practice"
refers
> >> to
> >> Western classical music of the Baroque, Classic & Romantic periods
> >> (roughly
> >> 1630~1900) when all composers shared the same pitch language - that
of
> >> Major-minor Tonality.
>
> >> See Donald Grout, "A History of Western Music"; Walter Piston,
"Harmony",
> >> and other standard musicology texts.
>
> >> Tom K.
>
> > A good answer that seems to be narrowed by some in this group who
> > doesn't really seem to accept the Romantic period as being part of
> > this era. The Grout of course would be re****ting mostly on research
> > that described this period. Is he the source of your time frame? You
> > have also opened a question with this post, however, and that is:
>
> > I am not really familiar with Piston's musical compositions. I am
> > starting t search for some. BUT as I recall, he used some 20th C.
> > techniques of tonality that does not fit neatly into these limited
> > tonalities of Tonic and Dominant. If I am recalling correctly, How
> > does he classify his own techniques of tonality as used in his
> > compositions? Does his use of the "Maj/Min only Keys" only apply to
> > his analysis of harmony in the earlier CPP? or does he then go beyond
> > that when he graduates to the next era of music writing. He did not
> > cross over until 1976. I would be surprised if he did not consider
> > that other forms of functionality that occurred outside the realm of
> > CPP to be irrelevant. The question, is does he limit these terms to
> > his thesis on Harmony or was it only really relevant to his analysis
> > of that particular era?
>
> As he states early in the text, Piston's "Harmony" deals only with CPP
> tonality.
>
> Separating the theorist and composer (IIRC), he does not quote or
mention
> his own compositions in his harmony text. His works are usually
described
> as "neo-classical" and would therefore be essentially centric, perhaps
with
> some flashes of tonality.
> Tom K.
Thank you Tom, That was exactly my point. All the references to key
being only major or minor refers to the CPP. And in particular,
generally to the early part of that period. That is why it is silly to
continue to address key as only major or minor without making that
disclaimer! When a general question such as what determines the key of
a work, there is no reason to limit the answers to the mind set of
freshmen music students that generally have only studied CPP harmony.
As one progresses to higher levels of theory, just as music has
evolved to various levels of musical thought there is little to be
served by trying to put everything into a nice neat package that
relies on the strict rules of such an old system of thought. It simply
eliminates the presence of so much music that does not fit into the
rules and conventions of first year harmonic and melodic theory.
LJS
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