Charles-Simon Catel's treatise on harmony : and the disciplining of harmony at the early Paris Conservatory

Charles-Simon Catel's Treatise on Harmony and the Disciplining of Harmony at the Early Paris Conservatory traces the formation of the discipline of harmony at the early Paris Conservatory, focusing on the 1801 treatise of Charles-Simon Catel. By examining the forces that shaped Catel's text, Michael J. Masci reconstitutes the contours of the dynamic “disciplinary network” that determined the content and scope of the study of harmony in Paris, expanding our understanding of practical harmony traditions. Cover Half Title Title Page Copyright Page Contents Note on Figured Bass Symbols Acknowledgments Introduction Notes Part I: Institutional Power and Disciplinary Pretexts Chapter 1: The Institutional Authorization of Catel’s Harmonic Theory and the Reconciliation of Fundamental Bass Theory with Figured Bass Practice Catel’s Compilation of Sources Rameau’s Final Cadence Notes Chapter 2: The Institutional Sources of Catel’s (Contested) Authority The Scandal of Catel’s Sémiramis: Harmony, National Music Education, and the Institutional Politics of Opera Catel and Sarrette: Military Friendship and Patronage at the Early Conservatory Conclusion Notes Part II: The Cours d’Harmonie as Coordination of Disciplinary Technologies Chapter 3: Disciplinary Networks: Sources and Structures of the Cours d’Harmonie Notes Chapter 4: Reconstructing the Theory, Pedagogy, and Method of the Early Cours d’Harmonie Pedagogy and Method for Realizing “Cadences et Marches Consonants” (Uses of Triadic Harmony) Pedagogy and Method for Realizing Modulations (Uses of “Natural Dissonances” or Dominant Sonorities) Pedagogy and Method for Realizing “Cadences et Marches Dissonantes” (Uses of Artificial Dissonances) Pedagogy for Broderies and a Rudimentary Method for Imitative Counterpoint: Preparing for the Concours d’harmonie Notes Chapter 5: Harmony’s Boundaries and the Internalization of Disciplinary Norms Harmony, Accompaniment, and Harmonie Femmes Harmony, Counterpoint, and Deeply Embedded Cadential Method Conclusions Notes Part III: The Transmission and Midcentury Revision of Disciplinary (and Generic) Structures Chapter 6: Tonalité, Modulation, and Alteration: Catel Reception at Midcentury Fétis’ Evolving Critique of Catel and the Changing Significance of the Harmonie Isolée Beyond Catel: Midcentury Approaches to Modulation and Altered Chords by Conservatory Theorists Harmony’s Second Disciplinary Network Conservatory Approaches to Diatonic Modulation Conservatory Approaches to Chromatic Modulation Notes Chapter 7: Tonal Redaction as Generic Convention in the Traité Complet Théorique et Pratique Sources of Harmonic Theory and Tonal Redactions in Traités Complets The Shifting Milieu of Tonality’s Production and Consumption Conclusion Notes Conclusion Appendix A Appendix B Appendix C Bibliography Index About the Author "This book traces the formation of the discipline of harmony at the Paris Conservatory, focusing on the seminal work of Charles-Simon Catel, and outlines the processes that would determine the content and scope of the discipline for much of the nineteenth century"-- Provided by publisher