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The craft of tonal counterpoint / / Thomas Benjamin
| The craft of tonal counterpoint / / Thomas Benjamin |
| Autore | Benjamin Thomas. |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | New York : , : Routledge, , 2003 |
| Descrizione fisica | 1 online resource (650 p.) |
| Disciplina | 781.2/86 |
| Altri autori (Persone) |
BenjaminThomas
BachJohann Sebastian <1685-1750.> |
| Soggetto topico |
Counterpoint
Musical analysis |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-138-45331-5
1-135-94663-9 1-280-10778-2 9786610107780 0-203-49411-3 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; Title; Copyright; Contents; Dedication; Acknowledgments; Preface to the Second Edition; Notes to the Instructor; Notes to the Student; Introduction; Chapter 1 Line and Other Elements of Style; Shape; Tonal Framework; Range and Tessitura; Structural Pitches; Filling In (Motivic) Figures; Phrase and Cadence; Cadence Figures; Meter and Rhythm; Melodic Intervals; Details of Line; Scales; Chromaticism; Tendency Tones; Nonharmonic (Nonchord) Tones; Means of Coherence; Compound Line; Suggestions for Melodic Writing; Melodic Writing Checklist; Chapter 2 Nonimitative Two-Voice Writing
General ObservationsSpecific Details of Voice Relationships; A Note on Compound Meter; Contrapuntal Analysis Checklist; Essentials of Two-Voice Counterpoint; Chapter 3 Chromaticism in Two Voices; Nonfunctional (Nonessential, Decorative, Melodic) Chromaticism; Functional (Essential, Harmonic) Chromaticism; Harmonies Related to Chromatic Lines; The Neapolitan Triad; Augmented-Sixth Chords; Chapter 4 Composition of Binary Dance Forms; Chapter 5 Double (Invertible) Counterpoint; Double Counterpoint at the Octave or Fifteenth; Double Counterpoint at the Twelfth; Double Counterpoint at the Tenth Chapter 6 Imitation Canon; Imitation; Canon; Variants in the Imitative Process; Chapter 7 The Two-Voice Invention; The Exposition: Theme and Countertheme; The Episode; The Invention as a Whole; Analysis of a Complete Invention; Chapter 8 Three-Voice Counterpoint I: Texture, Rhythm, Harmony; Texture and Rhythm; Range and Spacing; Relative Motion; Harmony; Cadential Figures; Nonharmonic Tones; Chapter 9 Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon; Chromaticism; Cross-Relation; Triple (Triple Invertible) Counterpoint; Accompanied Two-Voice Canon; Canon in Three Voices Chapter 10 Fugue IThe Subject; The Answer; The Exposition; Chapter 11 Fugue II; Overall Structure; The Episode; Middle Entries; The Counterexposition; Augmentation and Diminution; Inversion; Stretto; Pedal Point; The Ending Section; Analysis of a Complete Fugue; Chapter 12 Four-Voice Counterpoint; Texture and Rhythm; Harmony; Four-Voice Fugue; Other Fugal Variants; Chapter 13 Variation Forms; The Passacaglia; The Chaconne; The Goldberg Variations (Clavierübung, Part IV); Chapter 14 Cantus Firmus Procedure: The Chorale Prelude; The Ornamented Chorale Harmonization Cantus with Motivic CounterpointsCanonic Treatment of Cantus and/or Accompanying Parts; Chorale Prelude Involving "Vorimitation" (Preimitation); Chorale Prelude with "Obbligato" Melody; Conclusion; Appendix 1: Harmony; Appendix 2: Composing for the Organ; Glossary; Bibliography; Anthology; Index |
| Record Nr. | UNINA-9910450955103321 |
Benjamin Thomas.
|
||
| New York : , : Routledge, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
The craft of tonal counterpoint / / Thomas Benjamin
| The craft of tonal counterpoint / / Thomas Benjamin |
| Autore | Benjamin Thomas. |
| Edizione | [2nd ed.] |
| Pubbl/distr/stampa | New York : , : Routledge, , 2003 |
| Descrizione fisica | 1 online resource (650 p.) |
| Disciplina | 781.2/86 |
| Altri autori (Persone) |
BenjaminThomas
BachJohann Sebastian <1685-1750.> |
| Soggetto topico |
Counterpoint
Musical analysis |
| ISBN |
1-135-94662-0
1-138-45331-5 1-135-94663-9 1-280-10778-2 9786610107780 0-203-49411-3 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Cover; Title; Copyright; Contents; Dedication; Acknowledgments; Preface to the Second Edition; Notes to the Instructor; Notes to the Student; Introduction; Chapter 1 Line and Other Elements of Style; Shape; Tonal Framework; Range and Tessitura; Structural Pitches; Filling In (Motivic) Figures; Phrase and Cadence; Cadence Figures; Meter and Rhythm; Melodic Intervals; Details of Line; Scales; Chromaticism; Tendency Tones; Nonharmonic (Nonchord) Tones; Means of Coherence; Compound Line; Suggestions for Melodic Writing; Melodic Writing Checklist; Chapter 2 Nonimitative Two-Voice Writing
General ObservationsSpecific Details of Voice Relationships; A Note on Compound Meter; Contrapuntal Analysis Checklist; Essentials of Two-Voice Counterpoint; Chapter 3 Chromaticism in Two Voices; Nonfunctional (Nonessential, Decorative, Melodic) Chromaticism; Functional (Essential, Harmonic) Chromaticism; Harmonies Related to Chromatic Lines; The Neapolitan Triad; Augmented-Sixth Chords; Chapter 4 Composition of Binary Dance Forms; Chapter 5 Double (Invertible) Counterpoint; Double Counterpoint at the Octave or Fifteenth; Double Counterpoint at the Twelfth; Double Counterpoint at the Tenth Chapter 6 Imitation Canon; Imitation; Canon; Variants in the Imitative Process; Chapter 7 The Two-Voice Invention; The Exposition: Theme and Countertheme; The Episode; The Invention as a Whole; Analysis of a Complete Invention; Chapter 8 Three-Voice Counterpoint I: Texture, Rhythm, Harmony; Texture and Rhythm; Range and Spacing; Relative Motion; Harmony; Cadential Figures; Nonharmonic Tones; Chapter 9 Three-Voice Counterpoint II: Chromaticism, Triple Counterpoint, Canon; Chromaticism; Cross-Relation; Triple (Triple Invertible) Counterpoint; Accompanied Two-Voice Canon; Canon in Three Voices Chapter 10 Fugue IThe Subject; The Answer; The Exposition; Chapter 11 Fugue II; Overall Structure; The Episode; Middle Entries; The Counterexposition; Augmentation and Diminution; Inversion; Stretto; Pedal Point; The Ending Section; Analysis of a Complete Fugue; Chapter 12 Four-Voice Counterpoint; Texture and Rhythm; Harmony; Four-Voice Fugue; Other Fugal Variants; Chapter 13 Variation Forms; The Passacaglia; The Chaconne; The Goldberg Variations (Clavierübung, Part IV); Chapter 14 Cantus Firmus Procedure: The Chorale Prelude; The Ornamented Chorale Harmonization Cantus with Motivic CounterpointsCanonic Treatment of Cantus and/or Accompanying Parts; Chorale Prelude Involving "Vorimitation" (Preimitation); Chorale Prelude with "Obbligato" Melody; Conclusion; Appendix 1: Harmony; Appendix 2: Composing for the Organ; Glossary; Bibliography; Anthology; Index |
| Record Nr. | UNINA-9910783973103321 |
|
Benjamin Thomas.
|
||
| New York : , : Routledge, , 2003 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Tourner le dos : Sur l’envers du personnage au cinéma / Thomas Benjamin
| Tourner le dos : Sur l’envers du personnage au cinéma / Thomas Benjamin |
| Autore | Amiel Vincent |
| Pubbl/distr/stampa | Saint-Denis, : Presses universitaires de Vincennes, 2019 |
| Descrizione fisica | 1 online resource (192 p.) |
| Altri autori (Persone) |
AstrucFrédéric
DurafourJean-Michel GrisFabien RagelPhilippe Robic-DiazDelphine RogerPhilippe ScheinfeigelMaxime SerceauDaniel ThomasBenjamin VasseDavid BenjaminThomas |
| Soggetto topico |
Film Radio Television
cinéma dos envers (l') esthétique image personnage |
| ISBN |
2-84292-781-8
2-84292-384-7 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | fre |
| Altri titoli varianti | Tourner le dos |
| Record Nr. | UNINA-9910495851603321 |
|
Amiel Vincent
|
||
| Saint-Denis, : Presses universitaires de Vincennes, 2019 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||