Contents: Preface; Prologue: a personal reflection; Introduction; 11-pitch-class tonality; The modal gamut in the 16th century; Tonality and systems in the 17th and early 18th centuries; Tonality and systems in the mid- to late-18th century: the classical ideal; 19th century approaches to 11-pitch-class systems derived from the Viennese classical tradition; 11-pitch-class systems in the music of mid- to late-19th century Romantic composers; The Romantic avant garde and the rumblings of Modernism; Bibliography; Index.
Henry Burnett is Professor of Music and Roy Nitzberg is Visiting Lecturer both at the Aaron Copland School of Music, Queens College, The City University of New York, USA.
'At a time when transformations and networks have given us high expectations of new theories of tonal harmony, this book raises the stakes by deriving its results from prolific excavations of composers’ actual practices. It leads us through four centuries of Western art music arguing passionately that the interplay of symmetry and polarity has been at the heart of the story of the major-minor system. It is a fascinating study for all those who learn and research music from the 16th century to Schoenberg.' Jonathan Dunsby, Eastman School of Music, USA ’an impressive analytical tour through a vast range of literature’ Journal of the Society for Musicology in Ireland
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