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FRANCOIS-JOSEPH FETIS' THEORY OF CHR...

KOSAR, ANTHONY JAY.

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FRANCOIS-JOSEPH FETIS' THEORY OF CHROMATICISM AND EARLY NINETEENTH-CENTURY MUSIC (BELGIUM).

Record Type:	Electronic resources : Monograph/item
Title/Author:	FRANCOIS-JOSEPH FETIS' THEORY OF CHROMATICISM AND EARLY NINETEENTH-CENTURY MUSIC (BELGIUM)./
Author:	KOSAR, ANTHONY JAY.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1984,
Description:	595 p.
Notes:	Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
Contained By:	Dissertations Abstracts International45-07A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8426423
ISBN:	9798205424332

FRANCOIS-JOSEPH FETIS' THEORY OF CHROMATICISM AND EARLY NINETEENTH-CENTURY MUSIC (BELGIUM).
KOSAR, ANTHONY JAY.

FRANCOIS-JOSEPH FETIS' THEORY OF CHROMATICISM AND EARLY NINETEENTH-CENTURY MUSIC (BELGIUM). - Ann Arbor : ProQuest Dissertations & Theses, 1984 - 595 p.

Source: Dissertations Abstracts International, Volume: 45-07, Section: A.

Thesis (Ph.D.)--The Ohio State University, 1984.

This item must not be sold to any third party vendors.

Although an appreciable amount of research on Francois-Joseph Fetis has been undertaken, there are no studies that present a detailed examination of his harmonic theory. The objectives of the dissertation are to explain Fetis' harmonic theory, emphasizing its chromatic aspects, to consider the relationship of those chromatic aspects to the entire theory, and to examine the applicability of his theory of chromaticism to the music of his day. The main source used in the dissertation is the Traite . . . de l'harmonie of 1844, Fetis' last published theoretical work. This treatise combines the basic harmonic concepts of his contemporaries with his own innovative concepts first introduced in the "Cours de philosophie musicale . . ." of 1832. In the Traite Fetis attempts to describe not only tonalite moderne, the organizing system operative at the time, but also the chromatic practices that would eventually lead to the destruction of that system. Additional writings of Fetis are occasionally referred to, but only in order to clarify, augment, or develop presentations contained in the Traite. The "early nineteenth-century music" that is examined consists of a representative sample of works written during the first half of the nineteenth century with the inclusion of some Beethoven compositions written no earlier than 1795. This sample contains a similar number of compositions from each decade within the fifty-five-year period and includes works, in a variety of genres, by Beethoven, Chopin, Mendelssohn, Rossini, Schubert, and Schumann. The dissertation is divided into two parts. Part I contains an explanation of Fetis' harmonic theory; its organization closely follows that of the Traite. Part II contains an exposition and application of Fetis' chromatic theory. The dissertation concludes with an evaluation of his chromatic theory based on three criteria: (1) the comparison of Fetis' chromatic theory to the chromatic theories of his contemporaries, (2) the contrasting of his chromatic theory with twentieth-century chromatic thought, and (3) the applicability of his theory to the music.

ISBN: 9798205424332Subjects--Topical Terms:

516178
Music.

FRANCOIS-JOSEPH FETIS' THEORY OF CHROMATICISM AND EARLY NINETEENTH-CENTURY MUSIC (BELGIUM).
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245 1 0 $a FRANCOIS-JOSEPH FETIS' THEORY OF CHROMATICISM AND EARLY NINETEENTH-CENTURY MUSIC (BELGIUM).
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1984
300 $a 595 p.
500 $a Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--The Ohio State University, 1984.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a Although an appreciable amount of research on Francois-Joseph Fetis has been undertaken, there are no studies that present a detailed examination of his harmonic theory. The objectives of the dissertation are to explain Fetis' harmonic theory, emphasizing its chromatic aspects, to consider the relationship of those chromatic aspects to the entire theory, and to examine the applicability of his theory of chromaticism to the music of his day. The main source used in the dissertation is the Traite . . . de l'harmonie of 1844, Fetis' last published theoretical work. This treatise combines the basic harmonic concepts of his contemporaries with his own innovative concepts first introduced in the "Cours de philosophie musicale . . ." of 1832. In the Traite Fetis attempts to describe not only tonalite moderne, the organizing system operative at the time, but also the chromatic practices that would eventually lead to the destruction of that system. Additional writings of Fetis are occasionally referred to, but only in order to clarify, augment, or develop presentations contained in the Traite. The "early nineteenth-century music" that is examined consists of a representative sample of works written during the first half of the nineteenth century with the inclusion of some Beethoven compositions written no earlier than 1795. This sample contains a similar number of compositions from each decade within the fifty-five-year period and includes works, in a variety of genres, by Beethoven, Chopin, Mendelssohn, Rossini, Schubert, and Schumann. The dissertation is divided into two parts. Part I contains an explanation of Fetis' harmonic theory; its organization closely follows that of the Traite. Part II contains an exposition and application of Fetis' chromatic theory. The dissertation concludes with an evaluation of his chromatic theory based on three criteria: (1) the comparison of Fetis' chromatic theory to the chromatic theories of his contemporaries, (2) the contrasting of his chromatic theory with twentieth-century chromatic thought, and (3) the applicability of his theory to the music.
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