The Cambridge historical past of Western track thought is the 1st entire heritage of Western song concept to be released within the English language. A collaborative venture via top tune theorists and historians, the amount strains the wealthy landscape of music-theoretical proposal from the traditional Greeks to the current day. Richly more advantageous with illustrations, photographs, examples and cross-citations, in addition to being completely listed and supplemented via entire bibliographies, this ebook can be a useful source for college students and students alike.
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Extra resources for The Cambridge History of Western Music Theory (The Cambridge History of Music)
Hildesheim, G. Olms, 1999 Koch, H. C. Versuch einer Anleitung zur Composition, three vols. , Leipzig, A. F. Böhme, 1782–93; facs. Hildesheim, G. Olms, 1969 and 2000; Partial trans. N. Baker as Introductory Essay on Composition, New Haven, Yale college Press, 1983 Louis, R. and L. Thuille, Harmonielehre, Stuttgart, C. Grüninger, 1906 Macfarren, G. The Rudiments of concord, London, J. B. Cramer, 1860 Six Lectures on concord, London, Longmans et al. , 1867 Marx, A. B. Musical shape within the Age of Beethoven; chosen Writings on thought and strategy, trans.
Le Signerre 1496; facs. Bologna, Forni, 1972 and ny, Broude, 1979; trans. C. Miller as Practica musicae, MSD 20 (1968); trans. I. younger because the “Practica musicae” of Franchinus Gafurius, Madison, collage of Wisconsin Press, 1969 Theorica musice, Milan, P. Mantegatius, 1492; facs. manhattan, Broude, 1967 and Bologna, Forni, 1969; trans. W. Kreyzig, ed. C. Palisca because the concept of song, New Haven, Yale collage Press, 1993 Gushee, L. A. “Questions of style in Medieval Treatises on Music,” in Gattungen der Musik in Einzeldarstellung.
2 Vanneus, diagram of the modes, from Recanetum (1533), fol. 30r 372 Plate 12. 3a Ga◊urio’s representation of the octave species with Glarean’s annotation from De harmonia. Courtesy of Munich college Library 390 Plate 12. 3b Glarean’s representation of octave species from Dodecachordon, pp. 80–81 391 Plate 12. 3c Glarean’s twelve modes from Dodecachordon, p. one hundred forty 391 Plate 12. four Octave species and order of the modes from Zarlino, Dimostrationi harmoniche, p. 306 398 xi Cambridge Histories on-line © Cambridge collage Press, 2008 xii checklist of plates Plate thirteen.
Gibson’s notion of a◊ordance, deﬁned by way of Harré as “whatever a actual procedure can do based on a few human requirement” (Laws of Nature, p. 46); tune turns into an a◊ordance of the overtone sequence and different proper psychoacoustic elements. This in flip will be appropriate with the “dispositional” version of typical legislation (ibid. , pp. 44–48). Cambridge Histories on-line © Cambridge collage Press, 2008 102 nicholas cook dinner you may come to listen to a degree of tonal closure that you just differently wouldn't, and that this might in its personal approach give a contribution to a extra gratifying listening to of the tune.
The ﬁrst substantial if incompletely surviving physique of tune concept, that of Aristoxenus of Tarentum (c. 375/360 b c e ), offers itself as a complete explanation of track thought. 2 It walls tune into 3 domain names (pitch, rhythmics, and melodics) and grounds the learn of those domain names phenomenally within the statement of musical perform. In doing this, Aristoxenus reiﬁes the empirical phenomenon of sounding tune over the disparate discourses of Pythagorean hypothesis and conventional metrics respectively, and hence creates an self sufficient tune conception subordinated basically to a common systematics (see additionally bankruptcy four, pp.