By J. Tenney
First released in 1988. Routledge is an imprint of Taylor & Francis, an informa corporation.
Read or Download A History of 'Consonance' and 'Dissonance' PDF
Similar composition & performance books
Combining the methods of ethnomusicology and song idea, Analytical reports in global tune deals clean views for considering how musical sounds are formed, prepared, and composed through their varied makers around the globe. 11 encouraged, insightful, and in-depth factors of Iranian sung poetry, Javanese and Balinese gamelan track, Afro-Cuban drumming, flamenco, sleek American chamber track, and a wealth of different genres create a border-erasing compendium of inventive tune analyses.
"The paintings of a mature poet. Floyd Skloot instructions not just person items yet orchestrates a bigger composition as diverse and as unified as any symphony. "--Neal Bowers "A advantageous assortment, choked with adroitly disposed formal style, and modest approximately itself, its ardour, its giving again. . . . Floyd Skloot's poems--about family members, locations, his disease (CFS)--are filled with the main points of daily life: sourdough loaves, a lemonwood bow, cracked crab, iciness steelhead, a CT-scan computing device.
Content material: idea, process and conventions : historic historical past of the tonus peregrinus in monophonic perform -- Singled out as a version : the tonus peregrinus in polyphony earlier than c. 1500 -- The position of the tonus peregrinus within the prolonged modal structures of Glareanus and Zarlino -- the increase of an idiom : using the tonus peregrinus in reference to the French courtroom liturgies of the 16th century -- bold obbligo or loss of invention : the tonus peregrinus in Italian-speaking components throughout the 16th century -- Liberty with rigour : the tonus peregrinus in sixteenth-century Iberian song -- overall thematicism and multi-texted motets : the tonus peregrinus in sixteenth-century Roman Catholic liturgies of northern and crucial Europe -- "Mit szonderlicher ziemlicher weisz" : the tonus peregrinus in sixteenth-century Lutheranism -- In faburden and upon faburden : the tonus peregrinus in sixteenth-century English liturgies -- One utilized and one discreet process : the tonus peregrinus in Roman Catholicism c.
Revival events goal to revitalize traditions perceived as threatened or moribund by way of adapting them to new temporal, spatial, and social contexts. whereas lots of those hobbies were well-documented in Western Europe and North America,those taking place and habitual in different places on this planet have acquired very little cognizance.
- Amazing Phrasing - Guitar: 50 Ways to Improve Your Improvisational Skills (Amazing Phrasing)
- Beyond the Baton: What Every Conductor Needs to Know
- E-Service Intelligence: Methodologies, Technologies and Applications
- Listen, 7th edition
- The Study of Orchestration (Third Edition)
Extra resources for A History of 'Consonance' and 'Dissonance'
There were.. certain sounds for which my voice and ear seemed to have a predilection: and that was my first perception. But this predilection appeared to me purely a matter of habit.. I concluded that since I did not find in myself any good reason for justifying this predilection and for regarding it as natural, 1ought [not] to take it as the principle of my research.. [and]. that 1 would not encounter it within Rameau and his successors (CDC-4) 69. myself and I abandoned the pleasant.. for fear that they wodd engulf me in some system which would perhaps be my own, but which would not at all be that of nature..
This "source" (whether by way of the first integral divisions of a string or as low-order harmonic partials of that string) is conceived as "generating" not only the consonances but the dissonances as well: The same source that generated the consonances also generates the dissonances. Everything is related to this first and fundamental sound. From its division d intervals are generated and these intervals are such only with respect to this first sound.. We must conclude.. [an d] that, as the source is itself perfect and is the source of both consonances and dissonances, it cannot be regarded as dissonant.
P. 8 1. 62. , p. 86. 63. , pp. 17 and 18. " 64. Helen Bush, "The Recognition of Chordal Formation Musical Quarterly, Vol. 32 (1946), pp. 22743. 65. Pietro Aaron, op. , p. 40. 66. Zarlino, op. , pp. 182-3. 67. Morley, op. , p. 222. 68. , pp. 226-7. 69. Benito Rivera, op. , and Joel Lester, op. cit. 70. T . Arnold, 7he Art of Accompanimentfrom a norough-Bass (London: Oxford University Press, 1931; reprint, New York: Dover, 1965, in two volumes), pp. 4 2 4 3 (Vol. r). 71. , p. 426, and in Arnold, oP.
A History of 'Consonance' and 'Dissonance' by J. Tenney