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This volume is a collection of essays based on lectures given at the International Orpheus Academy for Music Theory on 'Music and Theory: Thoroughbass in Practice, Theory, and Improvisation''. Hence the point of departure was not 'Music Theory'' as such, but the interaction between music theory, music history, performance practice, aesthetics, and related sciences. This multidisciplinary approach, with the accent on the interplay between music performance and music theory, is reflected in the contributions to this book.Thomas Christensen, in his contribution, shows how the development of tonal
Performance practice (Music) --- Music theory --- Counterpoint. --- Partimenti. --- Polyphony --- Continuo --- Musical performance practice --- Performing practice (Music) --- Music --- History. --- Performance --- Counterpoint --- Partimenti --- History
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The Cambridge History of Western Music Theory is the first comprehensive history of Western music theory to be published in the English language. A collaborative project by leading music theorists and historians, the volume traces the rich panorama of music-theoretical thought from the Ancient Greeks to the present day. Recognizing the variety and complexity of music theory as an historical subject, the volume has been organized within a flexible framework. Some chapters are defined chronologically within a restricted historical domain, whilst others are defined conceptually and span longer historical periods. Together the thirty-one chapters present a synthetic overview of the fascinating and complex subject that is historical music theory. Richly enhanced with illustrations, graphics, examples and cross-citations as well as being thoroughly indexed and supplemented by comprehensive bibliographies of the most important primary and secondary literature, this book will be an invaluable resource for students and scholars alike.
Music theory --- History.
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This is a collection of essays based on lectures presented at the International Orpheus Academy for Music and Theory on ""Historical Theory, Performance, and Meaning in Baroque Music"".The often complex connections and intersections between, e.g., modal and tonal idioms, contrapuntal and harmonic organisation, were considered from various perspectives as to the transition (towards tonality) from the Renaissance to the Baroque era.
Music theory --- Harmony. --- Tonality. --- Music --- Key (Music theory) --- Keys (Music theory) --- Musical key --- Musical intervals and scales --- History --- Theory --- Harmony --- Tonality
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Can an abstract theory of Empfindsamkeit aesthetics have any value to a musician wishing to study composition in the classical style? The eighteenth-century German theorist and pedagogue Heinrich Koch showed how this question could be answered with a resounding yes. Starting with the systematic aesthetic theory of the Swiss encyclopedist Johann Sulzer, Koch was creatively able to adapt Sulzer's conservative ideas on ethical mimesis and rhetoric to concrete problems of music analysis and composition. In this collaborative study, Thomas Christensen and Nancy Baker have translated and analysed selected writings of Sulzer and Koch respectively, bringing to life a little-known confluence of philosophical and musical thought from the German Enlightenment. Koch's appropriation of Sulzer's ideas to the service of music represents an important development in the evolution of Western musical thought.
Composition (Music) --- -Enlightenment --- -Music --- -Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Aufklärung --- Eighteenth century --- Philosophy, Modern --- Rationalism --- Early works to 1800 --- Philosophy and aesthetics --- -Early works to 1800 --- Music --- Enlightenment --- Musique --- Composition (Musique) --- Siècle des Lumières --- Early works to 1800. --- Philosophie et esthétique --- Ouvrages avant 1800 --- Ouvrages jusqu'à 1800 --- Siècle des Lumières --- Philosophie et esthétique --- Ouvrages jusqu'à 1800 --- Art music --- Philosophy and aesthetics&delete& --- Germany --- 78.81
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