... 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...

...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...

...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...

...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 REVIEW Musical...

...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...

...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...

...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...

...-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. natha@umich.edu 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 (“Things that are or that arise by necessity,” as we...

... , however, was not present. English theorists initially used locutions such as the true and proper base (Herissone 2000 : 132, 136), and around the 1720s they turned to the term fundamental , as Rameau's influence spread that term and its etymological kin across wide swaths of Western Europe. In fact...

... 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...

... the Enlightenment .” Ph.D. diss ., Ohio State University . Cheveigné Alain de . 2010 . “ Pitch Perception .” In The Oxford Handbook of Auditory Science: Hearing , edited by Plack Christopher , 71 – 104 . Oxford : Oxford University Press . Christensen Thomas . 1993 . Rameau...

..., 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...

... . Christensen Thomas . 1992 . “ The Règle de l'Octave in Thorough-Bass Theory and Practice .” Acta Musicologica 64 , no. 2 : 91 – 117 . Christensen Thomas . 1993 . Rameau and Musical Thought in the Enlightenment . Cambridge : Cambridge University Press . Christensen Thomas...

... 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...

... or sentiment in the text,16 the dissonant chain originates from an early seventeenth-century technique of exten- sion through repetition of cadential figures—of what Rameau appropri- ately called “avoiding cadences while imitating them.”17 This technique is illustrated in simple strict-contrapuntal terms...

...., 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...

... and Snarrenberg have touched different parts of the proverbial elephant? Disagreements about what constitutes the “real” Schenker are remi- niscent of similar disputes regarding Rameau and Riemann, two other giants of music theory who, like Schenker, continually reinvented them- selves. Unlike Rameau...