Audacious Euphony

Military Ethics: An Introduction with Case Studies provides an accessible introduction to the ethical issues faced by today's junior and mid-ranking military personnel. Offering an exceptionally practical perspective, it includes more than fifty engaging case studies-personal, historical, and fictional accounts-that give students a birds-eye view of various real-world ethical dilemmas. Opening with an introduction to ethics and an overview of ethicaltheory, the book goes on to discuss ethical problems related to: the use and misuse of power and authority; discrimination and proportionality in traditional conflicts, irregular wars, and humanitarian military interventions; supreme emergency, terrorism, and responses to terrorism; and much more. Military Ethics is enhanced by suggestions for further reading, an abbreviation key, an extensive bibliography, and an appendix including a list of the international treaties that make up the Law of Armed Conflict. A companion website at www.oup.com/us/coleman features lecture notes, additional case studies, and discussion questions.Music theorists have long believed that 19th-century triadic progressions idiomatically extend the diatonic syntax of 18th-century classical tonality, and have accordingly unified the two repertories under a single mode of representation. Post-structuralist musicologists have challenged this belief, advancing the view that many romantic triadic progressions exceed the reach of classical syntax and are mobilized as the result of a transgressive, anti-syntacticimpulse. In Audacious Euphony, Richard Cohn takes both of these views to task, arguing that romantic harmony operates under syntactic principles distinct from those that underlie classical tonality, but no less susceptible to systematic definition. Charting this alternative triadic syntax, Cohn reconceiveswhat consonant triads are, and how they relate to one another. In doing so, he shows that major and minor triads have two distinct natures: one based on their acoustic properties, and the other on their ability to voice-lead smoothly to each other in the chromatic universe. Whereas their acoustic nature underlies the diatonic tonality of the classical tradition, their voice-leading properties are optimized by the pan-triadic progressions characteristic of the 19th century. Audacious Euphonydevelops a set of inter-related maps that organize intuitions about triadic proximity as seen through the lens of voice-leading proximity, using various geometries related to the 19th-century Tonnetz. This model leads to cogent analyses both of particular compositions and of historical trends across thelong nineteenth century. Essential reading for music theorists, Audacious Euphony is also a valuable resource for music historians, performers and composers.