the Theoretical-Practical Elements of Music, Parts III and IV

AvFrancesco Galeazzi

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Engelska, 2012

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Beskrivning

A virtuoso violinist, conductor, composer, and a professor of mathematics and botany, Francesco Galeazzi (1758–1819) firmly believed that musical education should be clear, demonstrable, and practical. In 1791 and 1796, he published the two volumes of his Elementi teorico-practici di musica, a treatise that demonstrated both his thorough grounding in the work of earlier theorists and his own approach to musical study. The first volume gave precise instructions on the violin and how to play it; the second demonstrated his command of other instruments and genres and provided comprehensive introductions to music theory, music history, and music aesthetics. The treatise also addresses the nature of compositional process and eighteenth-century concerns about natural and acquired talent and creativity.

This volume offers an unprecedented English translation of the second volume of Elementi teorico-practici di musica, with annotations and commentary. The translation is introduced with a study of Galeazzi''s life and milieu, the genesis and sources for the Elementi, and its reception through the present day.

Produktinformation

Utgivningsdatum:2012-05-30
Språk:Engelska
Antal sidor:364
Filformat:EPUB
Kopieringsskydd:LCP
ISBN:9780252094187
Förlag:University of Illinois Press

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Deborah Burton is an assistant professor of music theory at Boston University. Gregory W. Harwood is a professor of music at Georgia Southern University.

Innehållsförteckning

Title PageCopyright PageContentsPrefacePart I: The Life of Francesco GalezaaiPart II: The Theoretical-Practical Elements of MusicAppendix: Writings and Compositions by Francesco GaleazziTheoretical-Practical Elements of MusicPrefaceArticle I: Principles of Ancient and Modern MusicArticle II: Greek Music TheoryArticle III: Diatonic GenusArticle IV: Chromatic and Enharmonic GeneraArticle V: Guido d'ArezzoArticle VI: Notation and ClefsArticle VII: Note Shapes and MensurationArticle VIII: AccidentalsArticle IX: SolfegeArticle X: Plainsong ModesArticle XI: KeysAppendix: Part I, Article XI: KeysArticle I: Intervals and InversionsArticle II: Physical Harmonic PhenomenonArticle III: Consonant and Dissonant IntervalsArticle IV: Fundamental BassArticle V: CadencesArticle VI: Chord InversionsArticle VII: Ascending Scale and Harmonic ConnectionArticle VIII: Descending ScaleArticle IX: Compositional StylesArticle X: Musical Motions and Strict CounterpointArticle XI: One or Two Notes against OneArticle XII: Four Notes against OneArticle XIII: SuspensionsArticle XIV: Florid CounterpointArticle XV: Harmony in Minor KeysArticle XVI: Florid Counterpoint with ModulationsArticle XVII: ImitationArticle XVIII: Three PartsArticle XIX: Four Parts and Text SettingArticle XX: Double CounterpointArticle XXI: CanonArticle XXII: FugueArticle I: Writing MusicArticle II: Facilitating InspirationArticle III: Melody and Its MembersArticle IV: ModulationArticle V: Pure Vocal StyleArticle VI: Pure Instrumental StyleArticle VII: Mixed Style and OrchestrationArticle VIII: Scores and InstrumentsWorks CitedIndex

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