Author: Salomon Jadassohn
Publisher:
ISBN:
Category : Canon (Musical form)
Languages : en
Pages : 204

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Author: Salomon Jadassohn
Publisher:
ISBN:
Category :
Languages : en
Pages : 252

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Author: SALOMON. JADASSOHN
Publisher:
ISBN: 9781033175668
Category :
Languages : en
Pages : 0

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Author: Philip Lambert
Publisher: Yale University Press
ISBN: 9780300105346
Category : Music
Languages : en
Pages : 266

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With this innovative analysis of the music of Charles Ives, Philip Lambert fills a significant gap in the literature on one of America's most important composers. Lambert offers the first large-scale theoretical study of Ives's repertoire, encompassing major works in all genres. He argues that systematic techniques governed Ives's compositional language and thinking about music, even in his unconventional and apparently unstructured pieces. He portrays Ives as a composer of great diversity and complexity who nevertheless held to a single artistic vision. Using modes of analysis for post-tonal music and approaches devised specifically for the study of Ives as well, the author explains the origin, evolution, and culmination of Ives's systematic methods. He discusses important aspects of the composer's early training, the relation between Ives's experimental and his concert music, Ives's fugal and canonic techniques as the basis for his systematic music, his paradigms of procedure and transformation, and pitch relations in Ives's music, particularly the unfinished Universe Symphony. Lambert refutes the popular image of Ives as a highly eccentric composer haphazardly casting about for arbitrarily regulated ways of generating musical material and instead portrays him as a keenly determined and resourceful artist who gradually discovered ever more powerful tools for creating remarkably original music.

Author: Salomon Jadassohn
Publisher:
ISBN: 9781332230761
Category : Music
Languages : en
Pages : 248

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Excerpt from A Course of Instruction on Canon and Fugue Those who desire to profit by this book, ought to have thoroughly mastered all the studies in Harmony, simple and double Counterpoint, and the practice in exercises of more than four parts. A student, thus well prepared, will be enabled to follow this course of teaching of the Canon and Fugue, arranged in progressive order; and commencing with the easiest forms of imitation, to compose more elaborate compositions in the form of the Fugue. Although the composers of the present day make use of this contrapuntal form comparatively seldom, we find its employment mostly in compositions for Organ, or in the choruses of Oratorios and Psalms; nevertheless, the study of the Fugue is indispensible to every true artist, especially to him who desires to devote himself to the cultivation of free composition. Also to non-composers, the study of Canon and Fugue will afford insight into the classical works of Bach, Handel and other important masters of the past. One need scarcely remark that the creations of art exist for every one, endowed with feeling; and that also the unpretending amateur will receive a deep and lasting impression, after hearing the Cantatas and Passion-music of Bach, Handel's Oratorios, or other contrapuntal master-pieces, without being able to understand all the ingenious combinations of them. This we are far from disputing, but on the other hand, we must admit, that the appreciation and understanding of a master-piece will very materially heighten the enjoyment of it, and that also the executive artist will be better qualified to interpret a work, the more he has learned to grasp the very innermost nature of it. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Author: Ernst Kurth
Publisher: Cambridge University Press
ISBN: 9780521355223
Category : Music
Languages : en
Pages : 260

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This book provides a selection of annotated translations from Ernst Kurth's three best-known publications: Grundlagen des linearen Kontrapunkts (1917), Romantische Harmonik und ihre Krise in Wagners 'Tristan' (1920), and Bruckner (1925). Kurth's contemporaries considered these books to be pioneering studies in the music of J. S. Bach, Wagner and Bruckner. Professor Rothfarb's extensive introductory essay discusses the intellectual and socio-cultural environment in which Kurth was writing, referring to aspects of the early twentieth-century cultural renewal movements and to intellectual developments of the day in phenomenology, aesthetics and psychology. By reading Kurth against the cultural-intellectual background provided in the essay and commentaries, today's music historians and theorists can round out their picture of music theory in the early twentieth century.

Author: Stephen A. Crist
Publisher: University of Illinois Press
ISBN: 0252050819
Category : Music
Languages : en
Pages : 258

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More than a century passed after Johann Sebastian Bach's death in 1750 before his music found an audience in the United States. Volume Five in the Bach Perspectives series tracks the composer's reputation in America from obscure artist to a cultural mainstay whose music has spread to all parts of the country. Barbara Owen surveys Bach's early reception in America. Matthew Dirst focuses on John Sullivan Dwight's role in advocating Bach's work. Michael Broyles considers Bach's early impact in Boston while Mary J. Greer offers a counterpoint in her study of Bach's reception in New York. Hans-Joachim Schulze's essay links the American descendants of August Reinhold Bach to the composer. Christoph Wolff also focuses on Bach's descendants in America, particularly Friederica Sophia Bach, the daughter of Bach's eldest son. Peter Wollny evaluates manuscripts not included in Gerhard Herz's study of Bach Sources in America. The volume concludes with Carol K. Baron's comparison of Bach with Charles Ives while Stephen A. Crist measures Bach's influence on the jazz icon Dave Brubeck.

Author: Salomon Jadassohn
Publisher: Theclassics.Us
ISBN: 9781230732046
Category :
Languages : en
Pages : 30

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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1887 edition. Excerpt: ...note A (the key of 5-major), by means of which he leads the answer back to the fundamental key. In the G'-minor Fugue, (Nr. 18, vol. I, "Wohltemp. Clav.") Bach answers the whole theme, with the exception of the first note, in the sub-dominant, because the second note of the theme happens to be already the leading note. The theme modulates from G-minor to Z)f-minor, the answer leads to C?$-minor back again. Much less striking is the answer, in the sub-dominant, in the.B-minor fugue (Nr. 24, vol. I of the "Wohltemp. Clav.") In this highly interesting theme, not only the first fifth F, (commencing the theme) is answered by B, but also the second fifth, and from there all other notes are answered in the sub-dominant. By means of this circumstance, the theme loses least of its original characteristic, nevertheless the purpose is obtained, viz: that the response, which commences in F$-minor, is led back again to 5-minor. 125. The theme of the.E-minor fugue in two parts (Nr. 10, vol. I, of the "Wohltemp. Clav.") has an exceptional response. Here, not only the first fifth, --the third note of the theme--is answered also by a fifth, but the whole answer leads from.B-minor to-Ff-minor. Only in the last moment Bach substitutes the deceptive cadence on the dominant of U-minor, instead of the finish in iJf-minor, by which means the answer is altered so, that the note B of the theme, corresponds with the A% of the response. These irregularities of the answer are easily explained by the fugue being written in two parts. It stands to reason that more parts are far more suitable to the polyphonic character of the fugue, than two parts only. Only the fugue in two parts can be considered justified only for instrumental...

Author: Salomon 1831-1902 Jadassohn
Publisher: Legare Street Press
ISBN: 9781015376649
Category :
Languages : en
Pages : 252

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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 428

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