Music theory : problems and practices in the Middle Ages and Renaissance / / by Lloyd Ultan

• Autore: Ultan Lloyd <1929-1998.>
• Pubblicazione: Minneapolis, : University of Minnesota Press, c1977
• Edizione: 1st ed.
• Descrizione fisica: 1 online resource
• Disciplina: 781/.09/02
• Soggetto topico: Music theory - History - 500-1400; Music theory - History - 15th century; Music theory - History - 16th century; Aesthetics, Medieval; Aesthetics, Modern; Renaissance
• Note generali: Description based upon print version of record.
• Nota di bibliografia: Includes bibliographical references and index.
• Nota di contenuto: Intro -- Contents -- Preface -- Part One. The Middle Ages -- Chapter 1 Notation -- Plainsong notation -- Rhythmic modal notation -- Franconian notation -- Summary -- Chapter 2 Plainsong -- The ecclesiastical modes -- Plainsong line -- Placement of text -- Solmization -- Summary -- Chapter 3 Monophonic Forms -- Plainsong for the Mass and the Offices -- Other sacred forms and techniques -- Secular monophonic forms and performance styles -- Plainsong analytical procedures: sacred -- Plainsong analytical procedures: secular -- Compositional considerations -- Summary -- Chapter 4 Early Polyphony: Organum -- Strict organum -- Free organum -- Melismatic organum -- Summary -- Chapter 5 Ars Nova Notation -- Modus, tempus, and prolatio -- The four prolations -- Rests -- Syncopation (dotted and colored notes) -- Analytical considerations -- Summary -- Chapter 6 Early Contrapuntal Concepts and Devices -- Dissonance -- Stimmtausch -- Canon -- Summary -- Chapter 7 Late Contrapuntal Concepts and Devices -- Chromaticism (Musica Ficta) -- Hocket -- Isorhythm -- Cadences -- Summary -- Chapter 8 Sacred Polyphonic Forms -- Organum -- Conductus -- Motet -- Messe de Nostre Dame (Machaut) -- Summary -- Chapter 9 Secular Polyphonic Forms -- Virelai -- Ballade -- Rondeau -- Caccia -- Madrigal -- Instruments and instrumental forms -- Summary -- Chapter 10 The Late Fourteenth Century -- Notational considerations -- Rhythmic complexities -- Summary -- Part Two. The Renaissance -- Chapter 11 Transition -- White mensural notation -- Analytical considerations -- Summary -- Chapter 12 Early Fifteenth Century - Dufay -- Cantus firmus Mass: Se la face ay pale -- Phrase and motivic structure -- Rhythm -- Counterpoint -- Cadences -- Form -- Compositional considerations -- Summary -- Chapter 13 Middle and Late Fifteenth Century - Johannes Ockeghem -- Missa Mi-Mi -- Syncopation. ; Texture -- Canon -- Compositional considerations -- Summary -- Chapter 14 Late Fifteenth and Early Sixteenth Centuries - Josquin des Pres -- Paired imitation -- Repetition and canon -- Invertible counterpoint -- Sequence -- Other devices -- Compositional considerations -- Summary -- Chapter 15 Sixteenth-Century Secular Forms -- Chanson -- Madrigal -- Compositional considerations -- Other secular forms -- Summary -- Chapter 16 Palestrina: Part One -- Contour of line and use of intervals -- Rhythmic characteristics -- Text treatment -- General observations -- Summary -- Chapter 17 Palestrina: Part Two -- Two-voice counterpoint -- Dissonance treatment -- Three (and more) voice counterpoint -- Concluding observations -- Summary -- Chapter 18 Summary, Conclusions, and New Directions -- Evolution of ideas -- Harmony -- Cadences -- Notes -- Bibliography -- Appendix -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Z.
• Sommario/riassunto: Music Theory was first published in 1977. This is a textbook for the study of music theory, using a historical approach which enables the student to learn about compositional devices as they appeared and evolved in early Western music. The textbook and its accompanying workbook provide for the study of basic analytical and compositional techniques through the use of selected literature and original compositional techniques through the use of selected literature and original compositional assignments. With these teaching materials techniques which have been employed periodically throughout history, even into the most advanced of contemporary composition, may be mastered and absorbed as an integral part of the student's understanding of the aesthetic principles of art. Such compositional techniques as canon, cadential patterns, isorhythm, cantus firmus, initiation, and invertible counterpoint are among the many which are presented for study. A unique feature of the text is the introduction and employment of early notations. Including this dimension helps the student to understand the limitations imposed by the graphic tools of the composer upon his compositional decisions. This approach also enables the student to develop flexibility in the interpretation of notation. The book has been used in a preliminary form by hundreds of students and many different types of teachers. The students were typical college freshmen and sophomores, and none of the faculty had special training in the music of the periods studied, since any teacher with conventional theoretical training can easily master and present the material. The workbook contains 68 musical examples, and specific assignments for students are correlated with the textbook material.
• Titolo autorizzato: Music theory
• ISBN: 0-8166-5549-9; 1-4356-0631-0
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Lingua di pubblicazione: Inglese
• Record Nr.: 9910809427003321
• Lo trovi qui: Univ. Federico II