Course in musical composition: 1
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English French |
| Veröffentlicht: |
Norman
Univ. of Oklahoma Press
(2010)
|
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVIII, 379 S. Ill., Notenbeisp. |
| ISBN: | 9780806141343 |
Internformat
MARC
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| 240 | 1 | 0 | |a Cours de composition musicale |
| 245 | 1 | 0 | |a Course in musical composition |n 1 |c Vincent d'Indy ; transl., ed., and with an introd. by Gail Hilson Woldu ; comparative analysis by Merle Montgomery |
| 264 | 1 | |a Norman |b Univ. of Oklahoma Press |c (2010) | |
| 300 | |a XVIII, 379 S. |b Ill., Notenbeisp. | ||
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Datensatz im Suchindex
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|---|---|
| adam_text | CONTENTS
FOREWORD
The Road to Publication, by A. Robert Johnson
xi
EDITOR S PREFACE
xiii
EDITOR S ACKNOWLEDGMENTS
xvii
INTRODUCTION
Vincent
ďlndy,
musicien
artiste, and the
Cours de
composition
musicale,
Volume I, by Gail Hilson Woldu
1
PART ONE
Course in Musical Composition, Volume I
Foreword
37
Introduction
39
Art
39
The Work of Art and the Artist
42
Artistic Creation
42
Artistic Faculties of the Soul
43
Nature of the Work of Art
44
Characteristics of the Artist
45
Rhythm in Art
47
Artistic Perception
47
Ancient Classifications of the Arts
48
The Elements of Music
50
CHAPTER I. RHYTHM
52
Musical Rhythm
52
Nature of Musical Rhythm
54
Binary Rhythm, Ternary Rhythm
54
Masculine Rhythm, Feminine Rhythm
55
VI
CONTENTS
Rhythm and Measure
56
The Rhythm of Speech and the Rhythm of Movement
57
CHAPTER II. MELODY
59
The Accent
59
Tonic Accent, Expressive Accent
60
The Melody
61
Place of the Tonic Accent in the Melodic Group
62
Principle of Accentuation: The Melodic Rhythmic
64
Principle of Movement: The Period
67
Principle of Repose: The Phrase
70
Principle of Tonality: Melodic Modulation
70
Forms of Melody: Primary, Binary, and Ternary Types
71
The Square Phrase
72
Analysis of a Melody
73
CHAPTER III. NOTATION
78
Notation and Writing; Ideographic, Syllabic, and Alphabetic
Writing; Notation in Lines, Neumes, and Notes
78
Neumatic Notation, Dotted Notation
80
Guido dArezzo:
The Names of the Notes, The Staff
81
Proportional Notation: Black Notation, White Notation
83
Errors of the Seventeenth-century Plainchantists
85
Conventional Notation and Traditional Notation
86
Tablature
87
Transformation of the Traditional Signs: Rests, Measures,
Clefs, Accidentals
91
Defects in Contemporary Notation
93
CHAPTER IV. THE MONODIC CANTILENA
95
The
Monodie
Cantilena
95
Early Genre: Its Two Types
96
Ornamental Genre: a)
Antiphons; b)
Alleluias and Tracts;
c) Symbolic Ornaments
97
Popular Genre: a) Hymns; b) Sequences
103
Hypothesis of the Gregorian Cycle
104
Expression in the Medieval
Monodie
Cantilena
104
Correlative States of the Ornament in Monody and
in Medieval Graphics
106
The Timbres
108
CONTENTS VII
CHAPTER V.
THE
POPULAR
CHANSON 113
Popular Secular
Song 113
Origin of Popular Monodies
114
Popular Rhythm, The Couplet
115
The Three Successive Stages of the Couplet
116
The Refrain: Its Role in Symphonic Music
120
CHAPTER VI. HARMONY: THE CHORD
121
General Concepts
121
Origin of Harmony: Diaphony, Discant, Counterpoint,
Polyphony
122
The Chord
124
Concepts on Acoustics
125
Upper Resonance: Major Chord
126
Lower Resonance: Minor Chord
128
The Two Types of Chord
131
The Two Types of Scale: The Modes
132
Genesis of the Scale
133
Simple Relationships
134
Respective Role of the Third Harmonic (Fifth) and the Fifth
Harmonic (Third) in the Genesis of the Scale
135
The Cycle of Fifths
136
CHAPTER
VII.
TONALITY
138
Aesthetic Value of the Chord: The Tonic
138
Tonality in the Three Elements of Music
139
The Role of the Fifth
140
The Three Tonal Functions
141
Table of Tonal Functions
141
The Cadence and Its Various Guises
142
Nature of Tonality: Relationship of Sounds
145
Limitation of Tonality
147
Application of the Principle of Tonality to the Understanding
of Harmony
147
Analysis of Harmony, with the Aid of Tonal Functions
149
CHAPTER
VIII.
EXPRESSION
154
Expressive Action in the Three Elements of Music
154
Agogics
155
Dynamics
155
VIII CONTENTS
The Special Role of Timbre in Dynamics
156
Modulation
157
Relationship of Tonalities: Neighboring Tonalities
158
Table of Neighboring Tonalities
161
Rule of Modulation between Tonalities of the Same Mode
161
Difference between the Dominants and
Subdominants
162
Rule of Modulation between Tonalities of Different Modes
163
Expressive Reasons for Modulation
163
CHAPTER IX. HISTORY OF THEORIES ON HARMONY
165
The Problem of Harmony in History
165
Zarlino
166
Rameau
167
Tartini
169
Barbereau
170
Durutte
170
Hauptmann 171
Helmholtz
172
von
Œttingen
172
Riemann
173
CHAPTER
X.THE
MOTET
175
Early Polyphonic Forms
175
Form of the Liturgical Composition
178
Form of the Motet
179
Nature of the Phrase in the Motet
183
Form of the Responsory
184
History of the Early Polyphonic Forms: The Singers
and the Theorists
184
History of the Motet
186
Franco-Flemish Period
187
Italo-Spanish Period
194
Italo-German Period
209
CHAPTER XI. THE CHANSON AND THE MADRIGAL
217
Secular Polyphonic Forms: The Chanson
217
The Madrigal
218
The Accompanied Madrigal
220
The Dramatic Madrigal
221
CONTENTS
IX
Forms of the Chanson and
Madrigal
222
History of the Polyphonic Chanson and Madrigal
227
Era of the Polyphonic Chanson
227
Era of the Simple Madrigal
231
Era of the Accompanied Madrigal and
the Dramatic Madrigal
241
CHAPTER
XII.
THE PROGRESSIVE EVOLUTION OF ART
245
The Middle Ages
245
Rhythmo-monodic Era: Interior Art
245
Polyphonic Era: Exterior Art
247
Measured Era: Personal Art, the Renaissance
249
Effects of the Renaissance on Music
250
Appendix: Instructions for the Student s Practical Work
252
Preliminary Concepts
253
Musical Composition
254
The Chorale Variation
256
Suggested Further Reading
258
PART TWO
A Comparative Analysis of Vincent d lndy s
Cours de
composition
musicale,
by Merle Montgomery
Merle Montgomery Remembered by Those Who Knew Her
263
Introduction
272
CHAPTER I. THE APPROACH TO THE SUBJECT
276
CHAPTER II. RHYTHM
288
CHAPTER III. MELODY
301
CHAPTER IV. HARMONY
312
CHAPTER V. TONALITY
327
CHAPTER VI. FORM
335
APPENDIX:
EL MELOPEO Y
MAESTRO (THE ART OF MUSIC AND
THE MASTER), BY PEDRO
CERONE
345
NOTES
363
BIBLIOGRAPHY
367
INDEX
371
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| spelling | Indy, Vincent d' 1851-1931 Verfasser (DE-588)118775480 aut Cours de composition musicale Course in musical composition 1 Vincent d'Indy ; transl., ed., and with an introd. by Gail Hilson Woldu ; comparative analysis by Merle Montgomery Norman Univ. of Oklahoma Press (2010) XVIII, 379 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Woldu, Gail H. Sonstige oth (DE-604)BV037284731 1 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=021197460&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Indy, Vincent d' 1851-1931 Course in musical composition |
| title | Course in musical composition |
| title_alt | Cours de composition musicale |
| title_auth | Course in musical composition |
| title_exact_search | Course in musical composition |
| title_full | Course in musical composition 1 Vincent d'Indy ; transl., ed., and with an introd. by Gail Hilson Woldu ; comparative analysis by Merle Montgomery |
| title_fullStr | Course in musical composition 1 Vincent d'Indy ; transl., ed., and with an introd. by Gail Hilson Woldu ; comparative analysis by Merle Montgomery |
| title_full_unstemmed | Course in musical composition 1 Vincent d'Indy ; transl., ed., and with an introd. by Gail Hilson Woldu ; comparative analysis by Merle Montgomery |
| title_short | Course in musical composition |
| title_sort | course in musical composition |
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