Search Results for rameau

...David E. Cohen Abstract This article explores the advent of two foundational characteristics of the modern concept of harmony inaugurated by Rameau's Traité de l'harmonie (1722): first, that its principal objects are sonorities of three or more distinct pitch classes, that is, consonant...

...Alexander Rehding Musical Representations, Subjects, and Objects: The Construction of Musical Thought in Zarlino, Descartes, Rameau, and Weber Jairo Moreno Indiana University Press, 2004 xii+232 pp. 2003 © Yale University, New Haven, Connecticut 06520 2003 Bent, Ian. (Ed.) 1993...

...Alexander Rehding © 2008 by Yale University 2008 Barzun, Jacques, and Ralph H. Bowen. 1956 . Rameau's Nephew and Other Works . Indianapolis and Cambridge: Hackett. Berger, Karol. 1980 . Theories of Chromatic and Enharmonic Music in Late Sixteenth Century Italy . Ann Arbor: UMI...

... of the neo-Ramellian Harmonielehre tradition. The differences are exemplified by comparing Rameau's basse fondamentale with Heinichen's fluctuating understanding of tonality. It was Heinichen who, at the start of the eighteenth century, attempted most thoroughly to conceptualize Italian music theory. Like...

...Allan Keiler Jean-Philippe Rameau’s understanding of harmony comes to us in the form of a theory that presents many interpretive difficulties. What writers of figured bass manuals were trying to achieve, on the other hand, is often more accessible, though as they go about their practical concerns...

...Jean-Paul C. Montagnier 2003 © Yale University, New Haven, Connecticut 06520 2003 d'Alembert, Jean Le Rond. 1779. Élémens de musique théorique et pratique, suivant les principes de M. Rameau [1752], Nouvelle edition. Lyon: Jean-Marie Bruyset Père & Fils. Repr. Plan-de-La-Tour...

...Nathan John Martin The precise sense of Jean Philippe Rameau’s conception of supposition is among the more vexing questions that his theorizing poses. Supposition has been interpreted, on the one hand, as an account of ninth and eleventh chords and, on the other, as a means of explaining melodic...

...-Philippe Rameau, but that study neither advanced his compositional abilities nor later shielded him from the scorn of Rameau himself. Had Rousseau found a master of the then fashionable Italian style of music, he would have studied exercises in partimenti and solfeggi . Solfeggi were studies for voice...

... on the subdiscipline's past, present, and future. [email protected] Copyright © 2022 by Yale University 2022 history of music theory Abū Nasr Muhammad ibn al-Farakh al-Fārābī Jean-Philippe Rameau musica speculativa global history Hugo Riemann So, it turns out that to understand the particular...

... . Glasgow : Robert Urie . Holman Peter . 2001 . “ Lampe, John Frederick .” Grove Music Online . https://doi.org/10.1093/gmo/9781561592630.article.15922 . Holtmeier Ludwig . 2007 . “ Heinichen, Rameau, and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule...

... the fundamental bass theory associated with Rameau (Masci 2013 : 12–14). Choron's own contribution was his published editions of partimenti by Italian masters, hence securing their dissemination in early nineteenth-century France (Gjerdingen 2020 : 42–45). 9 The core of the Parisian tradition, based...

... Science: Hearing , edited by Plack Christopher , 71 – 104 . Oxford : Oxford University Press . Christensen Thomas . 1993 . Rameau and Musical Thought in the Enlightenment . Cambridge : Cambridge University Press . Cohen David E. 2001 . “ The ‘Gift of Nature’: Musical...

..., Ernst. 1951 . The Philosophy of the Enlightenment . Translated by Fritz C. A. Koelln and James P. Pettegrove. Princeton: Princeton University Press. Christensen, Thomas. 1993 . Rameau and Musical Thought in the Enlightenment . Cambridge: Cambridge University Press. ____. 1998 . “C. P. E...

... of acoustics, as Rameau had attempted to demonstrate, because it was fundamentally gnostic and freely selected. 5 Equally flawed in his eyes were systems based on arithmetic progressions and the chromatic scale (Georg Andreas Sorge, Abbé Vogler), an “arbitrary choice of fundamental chords” (Anton Reicha...

... of well-ordered topics (to be discussed below), rather than chronologically or by author, Damschroder references the writings of ninety-five theorists of vari- ous national backgrounds, ranging from works by well-known authors such as Jean-Philippe Rameau, Johann...

... as chromatic 248–50). This is true, and it provides fur- ther support for one of my main points, which I made largely with refer- ence to Robert Snarrenberg’s article “Schenker.” As with Rameau or Rie- mann, it is misleading to speak of “Schenker’s theory” as a unitary or static phenomenon. Harmonielehre...

... by Yale University 291 292 Journal of Music Theory Rond d’Alembert or Jean-Philippe Rameau and these later figures—the book is valuable not least on the level of dispensing basic historical information. However, Jackson’s real...

...” is without taking this back story into account. Rameau based much of his theory of harmony on Corelli's music. But as he applied his Cartesian premises to those sonatas, he broke Corelli's contrapuntal webs down into freeze-frames, thereby halting motion in favor of individual, objectified moments...

... Gegenwart , edited by F. Blume and L. Finscher. Kassel: Bärenreiter. Piston, Walter. 1941 . Harmony . New York: Norton. Rameau, Jean Philippe. [1722] 1971 . Treatise on Harmony . Translated by P. Gossett. New York: Dover Publications. Ricci, Adam. 2004 . “ A Theory of the Harmonic Sequence...

...., Columbia University. ———. 2000 . “Hugo Riemann's Debut as a Music Theorist.” Journal of Music Theory 44 /1: 81 -98. Rameau, Jean-Philippe. 1971 [1722]. Treatise on Harmony , trans. P. Gossett. New York: Dover. Riemann, Hugo. 1873 . “ Ueber das musikalische Hören .” Ph.D. diss...