KEYWORDS: Tymoczko, geometry, chords, voice leading, scales, tonality, some brute facts in Tymoczko’s new book A Geometry of Music (henceforth AGOM). A Geometry of Music has 69 ratings and 6 reviews. Peter said: Tymoczko is an intriguing composer and adept mathematician, so his mix of math and (lots of. Dmitri Tymoczko: A Geometry of Music: Harmony and. Counterpoint in the Extended. Common Practice. Hardcover, , ISBN , pages.

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Scales in Twentieth-Century Music 9. In theory, diatonic scales inhabit a seven-dimensional OP space; fortunately, lower-dimensional spaces can capture the essential features when only a few scale types are involved. Trivia About A Geometry of Mus Tymoczko uses this theoretical foundation to retell the history of Western music from the eleventh century to the present day. Norman rated it it was amazing Sep 02, He discusses a host of familiar pieces by a wide range of composers, from Bach to the Beatles, Mozart to Miles Davis, and many in between.

Kevin Newman rated it liked it Dec 27, Reich’s “The Desert Music,” movement 1 But while the math was difficult – actually, I understood none of it – it did not matter. Football consists of a statistically regular alternation of circular clustering, linear clustering, and random interpenetration. Nor am I sure that anyone else has seriously applied his analytic methodology to a range of musical pieces.

Arguing that traditional gsometry focus too narrowly on the “common practice” period fromhe proposes instead that Western music comprises an extended common practice stretching from the late middle ages to the present.

Perception and the five features.

Dmitri Tymoczko – Wikipedia

There are no discussion topics on this book yet. Tymoczko has produced an outstandingly original synthesis of new music theory that unifies quite a large number of separate subfields and realizes the theorist’s dream of finding the rational basis for tonality and tonal-compositional practices in music.

Also, various points are supported by statistical analyses estimating the frequencies with which certain characteristics appear in the works of certain composers or eras—a valuable if time-consuming technique that is slowly gaining a foothold in music theory scholarship.


Will Watson rated it it was amazing Apr 12, Music can be understood geometrically. One reads this book with the feeling of witnessing the birth of a classic in music theory.

A Geometry of Music provides an accessible introduction to Tymoczko’s revolutionary geometrical approach to music theory. He is the recipient of fellowships from the Guggenheim foundation and the Tymocz,o Institute of Advanced Study.

How is the Beatles’ “Help! Tymoczko uses this theoretical foundation to retell the history of Western music from the eleventh century to the present day. The Geometry of Chords 3. Music by Stravinsky, Glass, and Bill Evans, for example, falls comfortably within this compass, thus addressing what Tymoczko perceives as a failing of his own musical education, in which these composers were marginalized. It brings muxic consciousness procedures that composers of the past hav This a milestone in music theory and it constitutes an unification of many western practices in composition based in geometry.

A Geometry of Music

geomegry In this groundbreaking work, author Dmitri Tymoczko describes a new framework We make many observations about music, and while these observations are usually correct in some sense, they often seem to miss important points: In this groundbreaking work, author Dmitri Tymoczko describes a new framework for thinking about music that emphasizes the commonalities among styles from medieval polyphony to contemporary rock.

But the substance of the book is harmony, counterpoint, tonality, scales—the stuff of music theory—and it is music theorists who stand to benefit the most from it. Xavier rated it it was amazing Apr 03, Stuart Duncan rated it it was amazing Mar 21, How is the Beatles’ “Help! How is the Beatles’ “Help!

Augmented triads, equal divisions of the octave into four-semitone intervals, lie on the central axis og this prism, and major and minor triads, which divide the octave nearly equally, are grouped near this central axis see Figure 1.


Want to Read Currently Reading Read. Choose your country or region Close. As such, the OPTIC spaces use sophisticated techniques from contemporary mathematics to pull together many threads from musical scholarship of the last half-century, including set theory, scale theory, neo-Riemannian theory, and an assortment of work on voice leading and geometric representations. A Geometry of Music is accessible to a range of readers, from undergraduate music majors to scientists and mathematicians with an og in music.

Consonant harmonies are preferred to dissonant harmonies, and tend to be used at points of musical stability.

Audacious Euphony Richard Cohn. Views Read Edit View history. Ashley Joseph Whitney rated it it was ok Jul 21, A Geometry of Music: In the Process of Becoming Janet Schmalfeldt. It has also attracted the attention of at least a few composers, cognitive scientists, and psychologists, and Tymoczko has apparently taught the material with some success to Tymozcko undergraduates.

It’s good for composers, though, and I enjoyed the intelligent coverage of such a broad range of music. Some parts of the book are difficult, to be sure, but the level of abstraction subsides fairly quickly after peaking in Chapter 3.

A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice

The tymovzko in a passage of music, whatever they may be, tend to be structurally similar to one another. Douthett, Jack, and Peter Steinbach. It reads less like a dissertation and more like a life story. In particular, Tymoczko uses orbifolds to develop “maps” of musical chords, showing that the first two properties e. Account Options Sign in. David Longo rated it it was amazing Oct 26, Other editions – View all A Geometry of Music: