Relevant bibliographies by topics / Heinrich Christoph Koch

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Academic literature on the topic 'Heinrich Christoph Koch'

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Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Heinrich Christoph Koch"

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Veljanovic, Jasna. "Possible implementation of Heinrich Christoph Koch’s analytical terminology in contemporary analytical practice." Muzikologija, no. 25 (2018): 159–77. http://dx.doi.org/10.2298/muz1825159v.

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This paper aims to interpret two capital works of Heinrich Christoph Koch, the most important theorist of the eighteenth century: Musical Lexicon (Musikalisches Lexikon) and Introductory Essay on Composition (Versuch einer Anleitung zur Composition) in three volumes, from the viewpoint of his analytical terminology. For better understanding of the piece, and bearing in mind that his Introductory Essay is a textbook, and therefore has a pedagogical nature, his view on the composer?s relation with his work is discussed, and with it, creating a piece based on three parameters: conception, realization and elaboration, as well as the concepts of feeling, genius, fervour, impression and taste. Koch?s relationship to the work from the viewpoint of the analysis of musical form and its dissection is considered. Some concepts, which have always been used in the analysis of form, whose meaning is understood by default, are explained: character, genre, style. This paper arises from the necessity of re-examining Koch?s analytical terminology and to introduce it into today?s analytical practice, especially for the better understanding of music of the baroque and classical periods and its more logical explication. Special emphasis has been given to sonata form, which is necessary to be seen in a different way, in accordance with the stylistic period in which it was created. Koch?s music theory is completely neglected in the textbook literature and therefore the contribution of this scientific work is twofold: the analysis of Koch?s postulates as well as an attempt to implement them in todays? practice.
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Knouse, Nola Reed. "Introductory Essay on Composition Heinrich Christoph Koch Nancy Kovaleff Baker." Music Theory Spectrum 8 (April 1986): 143–48. http://dx.doi.org/10.2307/746074.

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Knouse, Nola Reed. ": Introductory Essay on Composition . Heinrich Christoph Koch, Nancy Kovaleff Baker." Music Theory Spectrum 8, no. 1 (1986): 143–48. http://dx.doi.org/10.1525/mts.1986.8.1.02a00080.

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Mirka, Danuta. "Spiel mit der Kadenz." Die Musikforschung 57, no. 1 (2021): 18–35. http://dx.doi.org/10.52412/mf.2004.h1.652.

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Die Kadenz, die von Heinrich Christoph Koch 1787 als eine aus drei Tönen bestehende Grundgestalt beschrieben wird, hat sich im ausgehenden 18. Jahrhundert zu unterschiedlichen eigenartigen Kadenzformeln entwickelt, die besonders für einzelne Stile und Gattungen geeignet waren. Für Instrumentalmusik ist die Formel, die als "große Bravour-Kadenz" bezeichnet und als ein metrisch-harmonisch-melodisches Schema im Sinne der kognitiven Musikwissenschaft (Robert O. Gjerdingen) dargestellt wird, besonders typisch. In Streicherkammermusik Joseph Haydns und Wolfgang Amadeus Mozarts wird dieses Schema oftmals zum Gegenstand spielerischer Manipulationen, die sowohl seinen Inhalt als auch seine Funktion und Stelle in der Form betreffen.
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CHAPIN, KEITH. "STRICT AND FREE REVERSED: THE LAW OF COUNTERPOINT IN KOCH’S MUSIKALISCHES LEXIKON AND MOZART’S ZAUBERFLÖTE." Eighteenth Century Music 3, no. 1 (2006): 91–107. http://dx.doi.org/10.1017/s1478570606000509.

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In his article ‘Contrapunkt’ in the Musikalisches Lexikon (1802) Heinrich Christoph Koch described the intense, suspension-filled and motivically saturated style that he and his contemporaries knew from the music of J. S. Bach in a distinctly odd manner. To show how a composer might write such music, he took a relatively consonant passage in the ‘free’ style, as he called it, and then ornamented it to create a ‘strict’ appearance. By generating the strict from the free style, Koch unconsciously registered the eighteenth-century shift from intervallic counterpoint towards chordal harmony. But as he described the strict style in this and other articles in the dictionary, Koch also intimated that the ‘strict’ style meant something quite different to him than it had to theorists of preceding generations. No longer an icon of immutable law and harmony, it seemed bizarre and dissonant, knocked from its theoretical, pedagogical and symbolic pride of place. This article first examines the theoretical issues of pedagogy and style that Koch wrestled with as he sought to make the traditional terminology of the strict style fit the compositional environment of his time, then analyses the symbolic implications of Koch’s notion of the strict style. Finally, it suggests how the symbolism of the strict style, as implied by Koch, might be manifested in the chorale fantasy sung by Two Armed Men in Schikaneder and Mozart’s Die Zauberflöte. The law of the Temple of Wisdom is not immutable, but rather represents the law of the old order, commanding respect but admitting change.
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Ito, John Paul. "Koch’s Metrical Theory and Mozart’s Music." Music Perception 31, no. 3 (2012): 205–22. http://dx.doi.org/10.1525/mp.2014.31.3.205.

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Mirka (2009) has recently argued that the 18th-century metrical theories of Heinrich Christoph Koch can be revelatory for a reconstruction of contemporary ways of hearing Viennese high classicism. Koch’s claims revolve around interactions between the metrical placement of cadences and the articulation of specific beat levels, and these claims are most specific and testable for common time and 6/8. This paper reports two statistical surveys of works by Mozart that were designed to gauge the fit between the corpus and Koch’s theory. In the works examined, the theory was strongly supported for common time, strongly disconfirmed for 6/8, and weakly supported for the other meters encountered. It is argued that these results point toward caution regarding the use of Koch’s theories but not toward their outright rejection, and that unexpected statistical contrasts within the corpus indicate the need for a fine-grained approach to meter in music of the later 18th century.
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MIRKA, DANUTA. "The Cadence of Mozart's Cadenzas." Journal of Musicology 22, no. 2 (2005): 292–325. http://dx.doi.org/10.1525/jm.2005.22.2.292.

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ABSTRACT The cadenzas Mozart supplied for his piano concertos are designed to close with a standard schema that conforms to the cadence as it was understood by musicians of the 18th century and described by such writers as Heinrich Christoph Koch. Melodic ingredients included the note of preparation, the cadential note, and the caesura note. The cadential schema may be elongated and manipulated in diverse ways, and in extreme cases, as witnessed in Mozart's practice, manipulations of the schema may yield sophisticated strategies that encompass several phases of approaching closure. Since the cadence of the cadenza served as a crucial means of communication between soloist and orchestra, its playful handling by the soloist presumably elicited amusing behavior among the orchestral musicians as they prepared to enter for the end of the final ritornello. This factor contributed a certain visual dimension to the communication between soloist and audience, in accordance with the aesthetic of witticism ascribed to the cadenza by 18th-century writers.
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Veljanovic, Jasna. "The Theory of Heinrich Christoph Koch and its role in the context of the analysis of musical works." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 122 (August 29, 2018): 98–109. http://dx.doi.org/10.31318/2522-4190.2018.122.141854.

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McCreless, Patrick. "Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch . Johann Georg Sulzer , Heinrich Christoph Koch , Nancy Kovaleff Baker , Thomas Christensen . Music Theory in the Age of Romanticism . Ian Bent ." Journal of the American Musicological Society 51, no. 1 (1998): 169–82. http://dx.doi.org/10.1525/jams.1998.51.1.03a00080.

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McCreless, Patrick. "Review: Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch by Johann Georg Sulzer, Heinrich Christoph Koch, Nancy Kovaleff Baker, Thomas Christensen; Music Theory in the Age of Romanticism by Ian Bent." Journal of the American Musicological Society 51, no. 1 (1998): 169–82. http://dx.doi.org/10.2307/831903.

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Dissertations / Theses on the topic "Heinrich Christoph Koch"

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Hust, Christoph. "Heinrich Christoph Koch - Journal der Tonkunst (1795)." Schriften online: Musikwissenschaft, 2012. https://slub.qucosa.de/id/qucosa%3A2722.

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1795 erschien in Erfurt das „Journal der Tonkunst“ des Rudolstädter Hofmusikers und Musiktheoretikers Heinrich Christoph Koch. Koch bestückte das Journal großenteils mit eigenen Texten. Insbesondere kreisen sie um das Konzept von Mode in der Musik, die Koch als Gefahr für die Kultur seiner Zeit betrachtet. Darüber hinaus gibt der Text einen Überblick über Facetten des Musikdiskurses im ausgehenden 18. Jahrhundert, die von ästhetischen über praktische Erwägungen bis zu lexikalischen Daten reichen.
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Barros, Cassiano de Almeida 1978. "A teoria fraseológico-musical de H.C. Koch (1749-1816)." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284457.

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Orientador: Helena Jank<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T13:28:55Z (GMT). No. of bitstreams: 1 Barros_CassianodeAlmeida_D.pdf: 5341810 bytes, checksum: 99a81dac22a72cb50b776b11a769f334 (MD5) Previous issue date: 2011<br>Resumo: Este trabalho propõe a abordagem hermenêutica da teoria fraseológica de Heinrich Christoph Koch (1749-1816), considerada, desde o século XVIII, a mais clara e completa sistematização fraseológica de sua época. O objetivo é compreender historicamente como se manifesta a relação entre a gramática musical, a retórica e a estética nessa teoria, investigando as técnicas de invenção, concatenação e desenvolvimento do pensamento musical elaboradas para a persuasão, além da natureza das próprias unidades de pensamento musical, como a frase, o período, estrutura e forma. A fim de reconstituir o horizonte de sentido dessa teoria e compreender a relação entre suas partes constituintes, são examinados os tratados, ensaios e artigos de Koch e os estudos atuais relacionados. O estudo do pensamento musical setecentista e de seus mecanismos criativos conduz a uma compreensão particular do repertório neles fundamentado, na medida em que recupera parâmetros próprios dessa produção musical para os quais nossa percepção não é sensível. Isso se torna evidente na última parte do trabalho, na qual a teoria fraseológica de Koch é aplicada na análise do primeiro movimento do quarteto de cordas em sol maior, KV 387 de W. A. Mozart, obra recomendada por Koch como modelar de seu gênero<br>Abstract: This work proposes the hermeneutical approach of Heinrich Christoph Koch's (1749-1816) phraseological theory, considered the most clear and complete phraseological systematization of his time since eighteenth century. The objective consists in achieving a historical comprehension of how the relation among musical grammar, rhetoric and aesthetics manifests itself in this theory. It will be investigated the techniques of creation, concatenation and development of musical thought, the influence of persuasion in the application of these techniques and the nature of the units of musical thought, such as phrase, period, structure and form. In order to reconstruct the horizon of meaning of this theory and to comprehend the relation among its constituent parts, it will be examined Koch's treatises, essays and articles and the contemporary studies related to them. The study of the eighteenth century musical thought and its creative procedures conducts to a particular comprehension of the repertoire founded on them, in so far as this study recovers the own parameters of this musical production, to which our perception is not sensible. It becomes evident in the last part of this work, in which Koch's phraseological theory is applied in an analysis of the first movement of W. A. Mozart's string quartet in G major, KV 387, a piece that is recommended by Koch as being a model for its genre<br>Doutorado<br>Fundamentos Teoricos<br>Doutor em Música
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Tompkins, Robert. "Beethoven's Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch as Expressed in Versuch Einer Anleitung Zur Composition." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/tompkins_robert_teynac/index.htm.

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Barros, Cassiano de Almeida 1978. "A orientação retorica no processo de composição do classicismo observada a partir do tratado Versuch einer anleitung zur composition (1782-1793) de H. C. Koch." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284783.

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Orientador: Helena Jank<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-06T07:05:18Z (GMT). No. of bitstreams: 1 Barros_CassianodeAlmeida_M.pdf: 810097 bytes, checksum: 8542910f480b9ce4c4b31daab6a42a7b (MD5) Previous issue date: 2006<br>Resumo: Esta pesquisa propõe o estudo da Teoria da Composição musical do final do século XVIII a partir da obra Versuch einer Anleitung zur Composition (1782-1793) de H.C. Koch. Concentra-se na orientação retórica dos procedimentos composicionais, em seus aspectos mecânicos e sua regulamentação. O estudo compara o sistema retórico de criação com o sistema de composição musical. Para isso é utilizada como termo auxiliar de comparação a enciclopédia sobre as artes de J.G. Sulzer (1771-1774). Nesta enciclopédia, Sulzer propõe um sistema genérico de criação artística retoricamente orientado para a recém surgida disciplina Estética. Koch adapta o sistema de Sulzer para as especificidades musicais e cria um método de composição de mesma orientação. Sua teoria concilia elementos conservadores e progressistas, regulamentando a Música e sua prática no sistema das Belas Artes e fornecendo subsídios para uma abordagem hermenêutica contemporânea da Música Clássica. Palavras-chave: 1)Koch, Heinrich Christoph; 2)Música; 3)Retórica; 4)Classicismo na Música<br>Abstract: This research proposes the study of the theory of musical Composition of the second half of the eightteenth century, based on H.C. Koch's essay Versuch einer Anleitung zur Composition (1782-1793). It focuses on the rhetorical orientation of the compositional procedures, its mechanical aspects and its regulation. The study compares the rhetorical system of creation with the system of musical composition. To this end, it is used J.G. Sulzer's encyclopedia of the finearts (1771-1774) as an auxiliar term of comparison. In this work Sulzer proposes to the new Aesthetic dicipline a generical system of artistic creation that is rhetorically oriented. Koch adapts Sulzer's system to the peculiarities of Music and creates a method of Composition with the same orientation. His theory conciliates conservative and progressive tendencies. It regulates Music and musical practice in the fine arts system and provides conditions to a contemporary hermeneutics approach of the Classical Music. Key words: 1)Music; 2)Rhetoric; 3)Classicism in Music<br>Mestrado<br>Mestre em Música
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"Heinrich Christoph Koch - Journal der Tonkunst (1795)." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-101174.

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1795 erschien in Erfurt das „Journal der Tonkunst“ des Rudolstädter Hofmusikers und Musiktheoretikers Heinrich Christoph Koch. Koch bestückte das Journal großenteils mit eigenen Texten. Insbesondere kreisen sie um das Konzept von Mode in der Musik, die Koch als Gefahr für die Kultur seiner Zeit betrachtet. Darüber hinaus gibt der Text einen Überblick über Facetten des Musikdiskurses im ausgehenden 18. Jahrhundert, die von ästhetischen über praktische Erwägungen bis zu lexikalischen Daten reichen.
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Hellenbrand, Gregory Thomas Riepel Joseph Koch Heinrich Christoph. "The symphonies of Johann Michael Haydn : a chronological perspective using theories of Joseph Riepel and Heinrich Christoph Koch /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3242868.

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Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4030. Adviser: John Walter Hill. Includes bibliographical references (leaves 965-1003) Available on microfilm from Pro Quest Information and Learning.
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Parish, Tracy M. "A performance interpretation of the concerto in E-flat major by Joseph Haydn based on contemporaneous writings and period performance practice /." 2008. http://proquest.umi.com/pqdweb?index=0&did=1686371681&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1271698041&clientId=36305.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008.<br>Includes abstract. Vita. Adviser: John Hill. Includes bibliographical references. Available from Pro Quest Information and Learning.
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Books on the topic "Heinrich Christoph Koch"

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1948-, Baker Nancy Kovaleff, Christensen Thomas Street, and Koch Heinrich Christoph 1749-1816, eds. Aesthetics and the art of musical composition in the German Enlightenment: Selected writings of Johann Georg Sulzer and Heinrich Christoph Koch. Cambridge University Press, 1995.

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Day-O'Connell, Sarah. The Singing Style. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0010.

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Despite its cursory description by Leonard Ratner and its outright dismissal by Raymond Monelle, the “singing style” is frequently evoked by analysts referring loosely (and often contradictorily) to song-like qualities. This chapter presents the singing style within the wider discourse, culture, and practice surrounding eighteenth-century songs and singing. Contemporary discussions of vocal composition (Johann Mattheson, Heinrich Christoph Koch) and vocal performance (Pier Francesco Tosi, in translations with commentaries by John Ernest Galliard and Johann Friedrich Agricola) involve a range of musical qualities but share a focus on intelligibility and accessibility. Contemporary poetry, literature, and criticism may connect singing to femininity, amateurism, domesticity, nature, beauty, or sociability, but retain similar connotations of simplicity, purity, and directness. The singing style can thus be understood as centered on comprehensibility, an extra-musical quality that is available to migrate to instrumental music under many guises.
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Koch, Heinrich Christoph, and Johann Georg Sulzer. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch (Cambridge Studies in Music Theory and Analysis). Cambridge University Press, 2006.

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Koch, Heinrich Christoph, and Johann Georg Sulzer. Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch (Cambridge Studies in Music Theory and Analysis). Cambridge University Press, 1996.

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Burstein, L. Poundie. Journeys Through Galant Expositions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.001.0001.

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Through much of the eighteenth century, commentators often described musical form in relation to a type of journey leading toward a set of specific tonal/harmonic/melodic/rhythmic goals, punctuated along the path by a standard series of resting points. Partly in reaction to developments witnessed in music composed during the high Classical era onward, since around the nineteenth century descriptions of musical form have tended to combine or even replace these “journey” metaphors with those that rely more heavily on architectonic analogies. When dealing with works composed around the middle of the 1700s, however, there are advantages for viewing musical form as it unfolds, much in the manner described by those who composed, improvised, listened to, and performed at the time. Taking as its focus the part of the movement now known as the exposition, this study analyzes the form of sonata-form works from Galant era by applying concepts and methodologies that stem from the eighteenth century, particularly those proposed by Heinrich Christoph Koch. It argues that analyzing this music through such a vantage point provides a valuable opportunity for understanding its form in a down-to-earth manner that can directly inform practical aspects of listening and performance.
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Book chapters on the topic "Heinrich Christoph Koch"

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Burstein, L. Poundie. "Eighteenth-Century Approaches to ExpositionsRiepel and Koch." In Journeys Through Galant Expositions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.003.0004.

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The melodic/harmonic underpinnings of the main resting points (Hauptruhepuncte) that lead to the new-key formal cadence within a Galant exposition tend to follow one of a set of standard possible orderings, forming what is known as a punctuation sequence. The orderings seem governed by two principles: (1) the avoidance of having the same main resting point appear twice in succession (except for under special circumstances); and (2) the tendency for each successive resting point to move closer to the new-key formal cadence. The concepts underlying the punctuation sequence are presented at length in the writings of Joseph Riepel and of Heinrich Christoph Koch. This chapter explores the standard expositional punctuation sequence as witnessed in the writings of Riepel, Koch, and some of their contemporaries.
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Mirka, Danuta. "Hypermeter, Phrase Structure, and Rhetorical Figures." In Hypermetric Manipulations in Haydn and Mozart. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548905.003.0008.

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The theory of music-rhetorical figures, originating with Joachim Burmeister and Christoph Bernhard, was relaunched by Johann Mattheson and further developed by Johann Adolph Scheibe and Johann Nikolaus Forkel. Its integration into the theory of melody was attempted by Heinrich Christoph Koch in Musikalisches Lexikon (1802). The renewed attempt, undertaken in this chapter, reveals an unsuspected bond between two conceptually interrelated but historically unrelated branches of eighteenth-century music theory. The chapter explores effects of rhetorical figures upon hypermeter. It focuses on two rhetorical figures—ellipsis and anadiplosis—and indicates that further rhetorical figures account for some of the phrase expansions discussed in chapter 6.
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Mirka, Danuta. "Hypermetrical Irregularities in Expanded Phrases." In Hypermetric Manipulations in Haydn and Mozart. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548905.003.0005.

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This chapter deals with hypermetrical irregularities in phrases expanded by means of parenthesis, repetition, and appendix. All these means of phrase expansion were recognized by eighteenth-century authors. The discussion of parenthesis reveals an uncharacteristically careless treatment of this concept by Heinrich Christoph Koch. It outlines its further development by Hugo Riemann and Heinrich Schenker and deconstructs the concept of parenthesis developed by William Rothstein (1989), thus restoring it to eighteenth-century perspective. The discussion of repetition engages with Rothstein’s discussion of this technique of phrase expansion and its effect upon hypermeter. The discussion of appendix compares Koch’s account of this concept to Rothstein’s concept of “suffix.”
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Strohm, Reinhard. "Haydns offene Satzstruktur und die klassizistische Theorie von Heinrich Christoph Koch." In Joseph Haydn im 21. Jahrhundert. Hollitzer Verlag, 2012. http://dx.doi.org/10.2307/j.ctvg8p63h.19.

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Burstein, L. Poundie. "Formal Punctuations." In Journeys Through Galant Expositions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.003.0002.

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Galant sonata-form movements can be understood as framed by a series of Perioden, that is, large multi-phrase sections that each lead to a formal cadence and which comprise a series of Sätze (phrases). The last Satz of a Periode, which concludes with the formal cadence, is known as a Schlußsatz. The Sätze and Satz-endings that precede the Schlußsatz are known as Absätze. Each Satz itself may be articulated by small divisions, known as Einschnitten. Largely relying on terminology and concepts of Heinrich Christoph Koch, this chapter explores the structure and conceptual underpinnings of these and related formal segments.
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Burstein, L. Poundie. "Uncommon Divisions." In Journeys Through Galant Expositions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.003.0013.

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At times one finds Galant expositions that are framed by punctuation sequences of types not specifically cited by Heinrich Christoph Koch. These include punctuation sequences that involve (1) resting points over less typical harmonies, such as a submediant or subdominant triad; (2) successive, contrasting Absätze that lead to the same type of resting point; and (3) standard resting points that appear out of their normal order. Some of these layouts nonetheless may be understood as stylistic generic (if somewhat less common) options. In other instances, however, these unusual punctuation sequences are best understood as expressive deviations that are in dialog with more conventional successions of expositional resting points.
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Hasty, Christopher. "Two Eighteenth-Century Views." In Meter as Rhythm. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190886912.003.0002.

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This chapter discusses two viewpoints on rhythm and meter from the eighteenth century. In Der vollkommene Capellmeister (1739), Johann Mattheson systematically develops the concept of die Rhythmik as a means of uniting meter as the division or measuring of time and rhythm as the particular course this measuring takes in melody. To understand this concept, it will be necessary to explore Mattheson’s subtle and, from a twentieth-century perspective, quite unfamiliar terminological distinctions. In his attempt to reconcile what one might think of as rhythm and meter, Mattheson is not concerned with the distinction between measure and “rhythmic pattern,” but rather with the distinction between mensuration and movement and their mysterious union in Rhythmik. The chapter then considers the modern pulse theory that emerged midcentury and was most systematically formulated by Heinrich Christoph Koch in 1787. Koch does not explicitly oppose meter and rhythm, in part because he conceives of metrical grouping as a creative and spontaneous process of one's imaginative faculties. Nevertheless, what one would call “meter” and “rhythm” are opposed implicitly in Koch's theory as an opposition of unity and multiplicity or as the givenness and fixity of pulse against the creative activity of grouping.
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Mirka, Danuta. "Phrase Structure." In Hypermetric Manipulations in Haydn and Mozart. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548905.003.0002.

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This chapter focuses on phrase structure, whose discussion in the eighteenth century was subsumed under the theory of melody and based on the parallel between music and language. The first part is devoted to classification of caesuras and melodic sections contained by them. Since the former were equivalent to punctuation marks (period, colon, semicolon, comma) and the latter to grammatical units (sentences, clauses), the musical terminology adopted by eighteenth-century authors (Johann Mattheson, Joseph Riepel, Friedrich Wilhelm Marpurg, Johann Philipp Kirnberger, and Heinrich Christoph Koch) was influenced by linguistic terminology and it developed for decades, with meanings of individual terms changing from author to author. The second part of the chapter treats the different lengths of phrases. It links the preference for four-measure phrases to regular hypermeter and it presents a classification of four-measure phrase rhythms.
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Burstein, L. Poundie. "The Movement’s Second Half." In Journeys Through Galant Expositions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083991.003.0014.

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Abstract:
This chapter explores the form of the second half of Galant movements—that is, the part of the movement that corresponds to what modern terminology often labels as the development plus recapitulation. Much as was done with the examination of expositions in the previous chapters, the form of the movement’s second half is examined with the aid of journey metaphors, along with the help of concepts discussed by eighteenth-century theorists such as Heinrich Christoph Koch. Although sometimes the motions toward the large-scale resting points during the second half of a movement give rise to what can fairly be characterized as a metaphorical “development space” or “recapitulation space,” many Galant movements resist such characterizations. As a result, viewing the form, a movement’s second half through the vantage point of journey metaphors helps shed light on certain standard features——such as the so-called “false recapitulation” or the “secondary development”—that pose difficulties for formal analytic approaches that rely more heavily on container metaphors.
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