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Relevant bibliographies by topics / Counterpoint Music theory Music theory

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Journal articles

Academic literature on the topic 'Counterpoint Music theory Music theory'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Counterpoint Music theory Music theory"

1

Rabinovitch, Gilad. "Implicit Counterpoint in Gjerdingen's Schemata." Music Theory and Analysis (MTA) 6, no. 1 (2019): 1–50. http://dx.doi.org/10.11116/mta.6.1.1.

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Robert Gjerdingen has claimed that schema finding diverges from contrapuntal pitch reduction, Schenkerian or otherwise. Commentators have criticized his approach (see the reviews by Joel Lester in Journal of Music Theory [1990] and Kofi Agawu in Music Theory Spectrum [1991]) and have discussed intersections between schemata and contrapuntal reduction (see the articles by Folker Froebe and Oliver Schwab-Felisch in Music Theory and Analysis [2014] and by Stefan Rohringer in Zeitschrift der Gesellschaft für Musiktheorie [2015]). Here I address this conundrum from a different angle: I propose that

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2

Lojek, Helen Heusner. "McGuinness's Music." Irish University Review 49, no. 2 (2019): 262–75. http://dx.doi.org/10.3366/iur.2019.0405.

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Throughout his long and varied playwriting career, Frank McGuinness has made extensive use of music from a plurality of genres. Music plays a variety of roles in the plays, supporting and enriching dramatic themes and moods. The music of Irish English, particularly the music of his native Donegal, is also an important element, often used in contrast to accents from other areas and classes. Music in a McGuinness play may be diegetic or incidental. Music and the music of language may involve counterpoint, balance, underscoring, delight, or a contrast to surrounding silence. Donegal (2016) contin

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3

Nainggolan, Oriana Tio Parahita. "Species Counterpoint: Pendekatan Dalam Pembelajaran Kontrapung." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (2021): 31. http://dx.doi.org/10.26740/vt.v4n1.p31-38.

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Abstract: As a part of music theory, Counterpoint dealing with a combination of melody in contrary motion. It is focused on combining melody between cantus firmus and counterpoint. In learning counterpoint, there are two approaches which usually used, free Counterpoint and strict counterpoint (it is well known as species counterpoint). The free counterpoint method allows writing counterpoint melody without paying attention to Counterpoint rules. While in strict counterpoint does not give freedom to write counterpoint melody, hence in must follow Counterpoint rules. Based on an early observatio

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4

Yearsley, David. "Alchemy and Counterpoint in an Age of Reason." Journal of the American Musicological Society 51, no. 2 (1998): 201–43. http://dx.doi.org/10.2307/831977.

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This essay demonstrates the importance of alchemy to the theory and practice of learned counterpoint as articulated in the writings of a group of early eighteenth-century German musicians, in particular, those of canon enthusiast and alchemist Heinrich Bokemeyer (1679-1751). While leading eighteenth-century theorists such as Johann Mattheson argued vigorously against the persistence of occult beliefs in music, the correspondence of J. G. Walther with Bokemeyer reveals a lively discourse on the principles of Hermeticism in conjunction with the exchange of counterpoint manuscripts, one of the mo

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5

Blackburn, Bonnie J. "On Compositional Process in the Fifteenth Century." Journal of the American Musicological Society 40, no. 2 (1987): 210–84. http://dx.doi.org/10.2307/831517.

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The change from "successive composition" to "simultaneous conception" is one of the great turning points in the history of music. The latter term, derived from Pietro Aaron's allusion to the method of composition used by modern composers, does not correctly convey Aaron's meaning. He said that modern composers "take all the parts into consideration at once," disposing them in different ranges and thus allowing the avoidance of awkward clashes between the inner voices. This more harmonic orientation finds confirmation in the writings of Giovanni Spataro, whose theory of harmony, later developed

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6

Canguilhem, Philippe, and Alexander Stalarow. "SINGING UPON THE BOOK ACCORDING TO VICENTE LUSITANO." Early Music History 30 (September 8, 2011): 55–103. http://dx.doi.org/10.1017/s0261127911000052.

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Towards the middle of the sixteenth century, the Portuguese composer and theorist Vicente Lusitano wrote a manuscript treatise on improvised counterpoint which constitutes the most thorough and detailed explanation that has survived on the subject. This manuscript has long been overlooked by music historians, despite being easily accessible at the Bibliothèque nationale de France (Paris). The manuscript is described and its history traced. Lusitano's rules, techniques and stylistic advice are investigated and compared with contemporary theory. The extraordinary complexity of the contrapuntal l

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7

Marlowe. "A Taxonomy for Teaching Music Theory: J. S. Bach and Lessons in Invertible Counterpoint." Bach 49, no. 2 (2018): 365. http://dx.doi.org/10.22513/bach.49.2.0365.

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8

Whittaker, Adam. "TINCTORIS AND SIGNA CONGRUENTIAE: A NEW PERSPECTIVE." Early Music History 38 (September 11, 2019): 269–303. http://dx.doi.org/10.1017/s0261127919000056.

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The notational treatises of Johannes Tinctoris are among the most important texts on late fifteenth-century musical practice. His monumental treatise on the art of counterpoint, De arte contrapuncti, affords modern scholars a great insight into the intricacies of counterpoint practice on the cusp of the era of printed music theory. In the examples for this text, Tinctoris regularly uses additional markers to specify the key passages he is discussing. These signs often closely resemble signa congruentiae, though their function in these theoretical contexts is somewhat different from the deploym

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9

Irving, Katrina. "Rock Music and the State: Dissonance or Counterpoint?" Cultural Critique, no. 10 (1988): 151. http://dx.doi.org/10.2307/1354111.

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10

Misson, Andrej. "O glasbeni terminologiji pri pouku glasbene teorije in kompozicije / Some Thoughts on Musical Terminology at Musical Theory, Composition and Counterpoint Teaching." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (2021): 91–108. http://dx.doi.org/10.26493/2712-3987.16(33)91-108.

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Traditionally, music can be divided into musical theory, composition and musical performance. For an in-depth understanding, appropriate terminology is required, also in the Slovene language. Like all European nations, Slovenes based their musical terminology mainly and directly on the Greek and Latin languages, or otherwise indirectly, primarily through the German and Italian languages. The development of a relatively young Slovenian terminology is closely linked to music education. In his paper, the author briefly mentions some facts about musical terminology in general and some facts about

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