PDF - UNT Digital Library
... composition. In particular, cadence structure in the modal ricercar remains in its sixteenth century form. Two single-subject ricercare of Froberger serve to illustrate the transition from a form that belongs to the end of the Renaissance, the motet and its related genres, to a form of the seventeen ...
... composition. In particular, cadence structure in the modal ricercar remains in its sixteenth century form. Two single-subject ricercare of Froberger serve to illustrate the transition from a form that belongs to the end of the Renaissance, the motet and its related genres, to a form of the seventeen ...
also available on signumvision
... fugue there is the contrast of the whole organ-case, moving to internal organ action shots as the episodes begin. As the episodes conclude and the final peroration begins, wider views of ...
... fugue there is the contrast of the whole organ-case, moving to internal organ action shots as the episodes begin. As the episodes conclude and the final peroration begins, wider views of ...
Musical Rhetoric in Three Praeludia of Dietrich Buxtehude
... Christoph Bernhard (1627-1692) was cantor for Johanneum in Hamburg from 1664-74 and co-director of the famous Collegium Musicum there with Matthias Weckmann. Later, Bernhard returned to Dresden where he had studied and worked with Schütz for many years. In the Tractatus (c. 1660), Bernhard describes ...
... Christoph Bernhard (1627-1692) was cantor for Johanneum in Hamburg from 1664-74 and co-director of the famous Collegium Musicum there with Matthias Weckmann. Later, Bernhard returned to Dresden where he had studied and worked with Schütz for many years. In the Tractatus (c. 1660), Bernhard describes ...
- RCM Research Online
... imitation’ in Athanasius Kircher’s monumental Musurgia universalis (1650) and was widely copied and, presumably, played.3 Part two of this article, to appear in the next issue, will include an open score transcription of another ‘model fugue’ printed in the Musurgia universalis, Kerll’s ‘Ricercata i ...
... imitation’ in Athanasius Kircher’s monumental Musurgia universalis (1650) and was widely copied and, presumably, played.3 Part two of this article, to appear in the next issue, will include an open score transcription of another ‘model fugue’ printed in the Musurgia universalis, Kerll’s ‘Ricercata i ...
Go for Baroque
... and was usually created to express a particular mood. The elements were arranged in a way to give the impression of conflict. Dynamics were introduced to help express a range of emotions. Baroque dynamics would suddenly change from loud to soft in a technique called terraced dynamics. You can often ...
... and was usually created to express a particular mood. The elements were arranged in a way to give the impression of conflict. Dynamics were introduced to help express a range of emotions. Baroque dynamics would suddenly change from loud to soft in a technique called terraced dynamics. You can often ...
Read notes on the program
... 1798, and by the end of 1800 he had completed his Symphony No. 1 as well as a set of six quartets, cataloged as Opus 18. The Allegro movement that begins the String Quartet in G Major from Opus 18 (published as the second in the set but probably composed third) demonstrates how well Beethoven had ab ...
... 1798, and by the end of 1800 he had completed his Symphony No. 1 as well as a set of six quartets, cataloged as Opus 18. The Allegro movement that begins the String Quartet in G Major from Opus 18 (published as the second in the set but probably composed third) demonstrates how well Beethoven had ab ...
historical and analytical studies
... such a way that the mode of the composition was made clear at the outset. This meant that the melodic motion of the voices should emphasize the important modal notes of final, dominant, mediant and psalm tone tenor(s), and that the imitation should show a certain clarity of structure. As a result th ...
... such a way that the mode of the composition was made clear at the outset. This meant that the melodic motion of the voices should emphasize the important modal notes of final, dominant, mediant and psalm tone tenor(s), and that the imitation should show a certain clarity of structure. As a result th ...
Level 9 - The Music Makers
... Know the four periods of music history in order. Know at least three composers from each period. A list of composers is on pages 161-169. When asked to name a composer from a particular period, students may use any composer's name from that period. The following composers may appear on the test: ...
... Know the four periods of music history in order. Know at least three composers from each period. A list of composers is on pages 161-169. When asked to name a composer from a particular period, students may use any composer's name from that period. The following composers may appear on the test: ...
Document
... equal temperament in use today. It is a common error to think that the well-temperament for which Bach composed his preludes and fugues is synonymous, more or less, with our equal temperament. We cannot know exactly how Bach tuned his instrument and what he heard as he composed, but based on the des ...
... equal temperament in use today. It is a common error to think that the well-temperament for which Bach composed his preludes and fugues is synonymous, more or less, with our equal temperament. We cannot know exactly how Bach tuned his instrument and what he heard as he composed, but based on the des ...
Principles of Counterpoint
... migrates between various parts there is always a focus. In its broadest meaning, we will use the word "line" to refer to the main path followed by the listener’s attention through a musical work over time. If the composer does his work well, this path will be intriguing, coherent, and convincing fro ...
... migrates between various parts there is always a focus. In its broadest meaning, we will use the word "line" to refer to the main path followed by the listener’s attention through a musical work over time. If the composer does his work well, this path will be intriguing, coherent, and convincing fro ...
Subject and counter-subject detection for analysis of the Well
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
Johann Sebastian Bach`s The Art of Fugue
... Contrapunctus 10 is “alla Decima” – here, the subject is transposed up or down a 10th. “This species of double counterpoint allows either or both subjects to be doubled in 3rds, 6ths or 10ths” (Jones) – that is, while one voice plays one of the fugue’s subjects, two other parts present the other sub ...
... Contrapunctus 10 is “alla Decima” – here, the subject is transposed up or down a 10th. “This species of double counterpoint allows either or both subjects to be doubled in 3rds, 6ths or 10ths” (Jones) – that is, while one voice plays one of the fugue’s subjects, two other parts present the other sub ...
Subject and counter-subject detection for analysis of
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
... Contrapuntal music is a polyphonic music where each individual line bears interest in its own. Bach fugues are a particularly consistent model of contrapuntal music. The fugues of Bach’s Well-Tempered Clavier are composed of two to five voices, appearing successively, each of these voices sharing th ...
The Mathematics of Music
... The word fugue is derived from a wording that means to ‘chase’ or ‘flee’ Makes use of imitative counterpoint The first voice enters with the main theme or subject There are subsequent entries by other voices imitating the subject This series of entries is called the exposition After the exposi ...
... The word fugue is derived from a wording that means to ‘chase’ or ‘flee’ Makes use of imitative counterpoint The first voice enters with the main theme or subject There are subsequent entries by other voices imitating the subject This series of entries is called the exposition After the exposi ...
Beethoven String Quartet Op 131
... Ignaz Schuppanzigh's string quartet, who had effectively become Beethoven's secretary: 'While composing the three quartets... such a wealth of new quartet ideas flowed from Beethoven's inexhaustible imagination that he virtually had to write the Quartets in Csharp minor and F major involuntarily. "M ...
... Ignaz Schuppanzigh's string quartet, who had effectively become Beethoven's secretary: 'While composing the three quartets... such a wealth of new quartet ideas flowed from Beethoven's inexhaustible imagination that he virtually had to write the Quartets in Csharp minor and F major involuntarily. "M ...
Slide 1
... Fuga Contrapuntal, based on imitation Subject unifies the work Choral or instrumental ...
... Fuga Contrapuntal, based on imitation Subject unifies the work Choral or instrumental ...
A Composition Project: an Original 12
... Finale to score my piece, by doing so however I eliminate the element of writing from a keyboard. This makes it easy to write rhythmically difficult passages and have the computer playback the piece perfectly. The problem I faced with this first draft came when I attempted playing it myself. When th ...
... Finale to score my piece, by doing so however I eliminate the element of writing from a keyboard. This makes it easy to write rhythmically difficult passages and have the computer playback the piece perfectly. The problem I faced with this first draft came when I attempted playing it myself. When th ...
Babbitt`s Theorem - Theorem of the Day
... class vectors indicate how many different pairs of pitch values are found at each distance apart, from 1 to 6 (7 and above being mapped to 5 and below). Of the major-key fugues in the 48, the majority have subjects using 6 of the 7 notes in the major scale. If the missing note value is 5 or 11 then ...
... class vectors indicate how many different pairs of pitch values are found at each distance apart, from 1 to 6 (7 and above being mapped to 5 and below). Of the major-key fugues in the 48, the majority have subjects using 6 of the 7 notes in the major scale. If the missing note value is 5 or 11 then ...
David Korevaar`s
... fruitful – is the placement of more and longer minor-key sections in the last third of the piece related to the placement of the minor inflection two-thirds of the way through the subject (as in m. 4, beat 2; m. 7, beat 2, etc.)?] The idea of mixing light and dark colors in painting is known as chia ...
... fruitful – is the placement of more and longer minor-key sections in the last third of the piece related to the placement of the minor inflection two-thirds of the way through the subject (as in m. 4, beat 2; m. 7, beat 2, etc.)?] The idea of mixing light and dark colors in painting is known as chia ...
Fugue
In music, a fugue (/fjuːɡ/ FEWG) is a contrapuntal compositional technique in two or more voices, built on a subject (theme) that is introduced at the beginning in imitation (repetition at different pitches) and recurs frequently in the course of the composition.The English term fugue originated in the 16th century and is derived from the French word fugue or the Italian fuga. This in turn comes from Latin, also fuga, which is itself related to both fugere (""to flee"") and fugare (""to chase""). The adjectival form is fugal. Variants include fughetta (literally, ""a small fugue"") and fugato (a passage in fugal style within another work that is not a fugue).A fugue usually has three sections: an exposition, a development, and finally, a recapitulation that contains the return of the subject in the fugue's tonic key, though not all fugues have a recapitulation. In the Middle Ages, the term was widely used to denote any works in canonic style; by the Renaissance, it had come to denote specifically imitative works. Since the 17th century, the term fugue has described what is commonly regarded as the most fully developed procedure of imitative counterpoint.Most fugues open with a short main theme, the subject, which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete. This is often followed by a connecting passage, or episode, developed from previously heard material; further ""entries"" of the subject then are heard in related keys. Episodes (if applicable) and entries are usually alternated until the ""final entry"" of the subject, by which point the music has returned to the opening key, or tonic, which is often followed by closing material, the coda. In this sense, a fugue is a style of composition, rather than a fixed structure.The form evolved during the 18th century from several earlier types of contrapuntal compositions, such as imitative ricercars, capriccios, canzonas, and fantasias. The famous fugue composer Johann Sebastian Bach (1685–1750) shaped his own works after those of Johann Jakob Froberger (1616–1667), Johann Pachelbel (1653–1706), Girolamo Frescobaldi (1583–1643), Dieterich Buxtehude (c. 1637–1707) and others. With the decline of sophisticated styles at the end of the baroque period, the fugue's central role waned, eventually giving way as sonata form and the symphony orchestra rose to a dominant position. Nevertheless, composers continued to write and study fugues for various purposes; they appear in the works of Wolfgang Amadeus Mozart (1756–1791) and Ludwig van Beethoven (1770–1827), as well as modern composers like Dmitri Shostakovich (1906–1975).