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קורות חיים

EYTAN AGMON

PhD, 1986, City University of New York, Graduate Center. Dissertation advisor: Carl Schachter.

Music theorist specializing in tonal theory and analysis, including Schenkerian theory and analysis, aspects of rhythm, and the music of Chopin.

Author of The Languages of Western Tonality (Springer, 2013),

http://www.springer.com/computer/information+systems+and+applications/book/978-3-642-39586-4.

A Visiting Scholar at the Franke Institute for the Humanities, University of Chicago, 1997–1998, and a Visiting Slee Professor, University at Buffalo, 2003–2004, Prof. Agmon is a Founding Member of ESCOM: European Society for the Cognitive Sciences of Music.

פירסומים

Forthcoming. “Chopin as an Interpreter of Mozart: The Variations Opus 2 and Don Giovanni.” University of Rochester Press.

2013. The Languages of Western Tonality. Springer, Computational Music Science Series. http://www.springer.com/computer/information+systems+and+applications/book/978-3-642-39586-4

2013. “Proto-Tonal Theory: Tapping into 9th-Century Insights.” Music Theory Spectrum, 35:1, 103–110. [Chapter 1 of The Languages of Western Tonality.]

2009. “Pitches (Pitch Classes) and Their Intervals are (Sets of) Numbers. Music Theory Spectrum 31:1, 153–156.

2006. “Structural Levels and Harmonic Theory: Toward a Reconciliation.” In Allen Cadwallader, ed., Essays from the Third International Schenker Symposium. 219–244. Hildesheim: Georg Olms.

2006. “Reply to Erkki Huovinen.” Music Theory Spectrum 28:1, 154–164. [A reply to Huovinen’s “Two Arguments for the Mental Reality of Diatonicism: A Reply to Eytan Agmon,” Music Theory Spectrum 28:1, 141–153.]

2004. Review of Erkki Huovinen, Pitch-Class Constellations: Studies in the Perception of Tonal CentricityMusic Theory Spectrum 26:1, 131–143.

2002. “The Multiplicative Norm and its Implications for Set-Class Theory.” Perspectives of New Music 40:1, 216–234.

1998. “The First Movement of Beethoven’s Cello Sonata, Op. 69: The Opening Solo as a Structural and Motivic Source.” The Journal of Musicology 16:3, 394–409.

1997. “The Bridges that Never Were: Schenker on the Contrapuntal Origin of the Triad and Seventh Chord.” Music Theory Online 3:1.http://www.mtosmt.org/issues/mto.97.3.1/mto.97.3.1.agmon.html

1997. “‘Octave Equivalence’ versus ‘Octave Relatedness’: Circle versus Helix; Chord versus Melody.” Proceedings of the Third Triennial ESCOM Conference (Uppsala, Sweden), 122–126.

1996. “Coherent Tone-Systems: A Study in the Theory of Diatonicism.” Journal of Music Theory 40:1, 39–59.

1996. “Musical Durations as Mathematical Intervals: Some Implications for the Theory and Analysis of Rhythm.” Music Analysis 16, 45–75.

1996. “Beethoven’s Op. 81a and the Psychology of Loss.” Music Theory Online 2.4. http://www.mtosmt.org/issues/mto.96.2.4/mto.96.2.4.agmon.html

1996. “Conventional Harmonic Wisdom and the Scope of Schenkerian Theory: A Reply to John Rothgeb.” Music Theory Online 2.3.http://www.mtosmt.org/issues/mto.96.2.3/mto.96.2.3.agmon.tlk

1995. “Diatonicism and Farey Series.” Muzica 6:1, 68–74.

1995. “Functional Harmony Revisited: A Prototype-Theoretic Approach.” Music Theory Spectrum 17:2, 196–214.

1994. “Principles of Chord Progression.” Proceedings of the Third International Conference for Music Perception and Cognition (Liège), 245–246.

1993. “Towards a Theory of Diatonic Intonation.” Interface 22:2, 151–163. 

1993. “Tonicity and the Tritone: Beyond the Rarity Issue.” Proceedings of the First International Conference on Cognitive Musicology(University of Jyväskylä, Finland), 74–87.

1992. “Communication” (in response to Harald Krebs, “Tonal and Formal Dualism in Chopin’s Scherzo, Op. 31,” Music Theory Spectrum13:1). Music Theory Spectrum 14:1, 114–116.

1991. “Rhythmic Displacement in the Fugue of Brahms’s Handel Variations: The Refashioning of a Traditional Device.” Studies in Musicology from the University of Western Ontario 13, 1–20.

1991. “Linear Transformations Between Cyclically Generated Chords.” Musikometrika 3, 15–40. 

1991. “A Moment of Suspense in the Second Finale of Don Giovanni.” Theory and Practice 16, 39–49.

1990. “Equal Division of the Octave in a Scarlatti Sonata.” In Theory Only 13:5, 1–8.

1990. “Music Theory as Cognitive Science: Some Conceptual and Methodological Issues.” Music Perception 7:3, 285–308.

1990. “Dramatic Content in the Don-Giovanni Overture.” Israel Studies in Musicology 5, 27–41.

1989. “A Mathematical Model of the Diatonic System.” Journal of Music Theory 33:1, 1–25.

1987. “Music and Text in Schubert Songs: The Role of Enharmonic Equivalence.” Israel Studies in Musicology 4, 49–58.

1979. “The Descending Fourth and its Symbolic Significance in Don Giovanni.” Theory and Practice 4:2, 3–11.

קורסים

Undergraduate:

Theory 2

Analysis

 

Graduate (recent):

Analytical Aspects of Tonal Music

Music, Mathematics, and Cognition

The Music of Chopin

 

תחומי מחקר

Music theorist specializing in tonal theory and analysis, including Schenkerian theory and analysis, aspects of rhythm, and the music of Chopin. Author of The Languages of Western Tonality (Springer, 2013), 

http://www.springer.com/computer/information+systems+and+applications/book/978-3-642-39586-4.