Music: An Art and a Language
(à capella or unaccompanied) composed by Palestrina and his contemporaries for the Roman Catholic Liturgy. Up to this point the ...
discussion.] [Footnote 33: Notable names are Léonin and Pérotin, both or- ganists of Nôtre Dame at Paris.] [Footnote 34: Althoug ...
however, are those in which the answering voice is an octave away from the leading one. Although the Canon is not a form employe ...
so-calledGoldberg Variationsof Bach—is a perfect storehouse of every conceivable canonic device. A few standard examples are to ...
sequence the music naturally works toward the most nearly re- lated key (the dominant) and in the seventh measure reaches in tha ...
They are merely little pieces—a “tour de force” in polyphonic ingenuity; music rejoicing in its own inherent vitality. Accepted ...
the same may be said of every type of composition,i.e., among them all are examples inspired and—less inspired. This, how- ever, ...
have all been transcribed for the pianoforte by Liszt and so are readily available; they are often played at pianoforte recitals ...
Chapter 5 FUGUE IN E-FLAT MAJOR, NO. VII, IN THE FIRST BOOK. [Music: Subject Counter-subject Answer] This fugue in three voices ...
termed “shifted rhythm;” the subject beginning on the third beat instead of the first, as at the outset. In the middle portion o ...
[Music: BACH: Fugue No. 8, Book I Theme Augmentation] [Music: BACH: Fugue No. IX, Book II Theme Diminution] Augmentation is very ...
no means limited to fugal composition; being frequently found in all large symphonic works of the classic and modern school. For ...
but seldom, for they require the most highly trained executive ability. But if the average music-lover will become familiar with ...
Philip Greeley Clapp see the Musical Quarterly for April, 1916.] [Footnote 43: Some eloquent comments on Bach’s style and signif ...
columns of heart-shattering music. Choir and an- tichoir were filling fast with unknown voices. Thou also, Dying Trumpeter! with ...
Chapter 6 CHAPTER IV THE MUSICAL SENTENCE Before passing on to an explanation of the fundamental types of musical structure, we ...
called the Tonic or chief tone and from it ascend the other tones of the scale. That is, a melody in E-flat major will employ on ...
related—though in varying degrees of closeness; and in modern music, no matter how complex the modulations often sound, we may b ...
change in all modern music—the mediant keys being those sit- uated half-way between a Tonic and Dominant or a Tonic and Subdomin ...
of two measures each. Let us now corroborate these statements by an examination of the opening sentence of the Scherzo of Beetho ...
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