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A Practical Approach to 18th Century Counterpoint de Robert Gauldin
Descripción - Reseña del editor This volume emphasizes developing analytical and writing skills in the contrapuntal technique of the eighteenth century. The orientation is strongly stylistic, dealing mainly with the polyphony of the late Baroque period. Three aspects are stressed throughout: practical work in writing counterpoint, utilizing various textures, devices, and genre of the period; historical background, to establish the origins of different forms and justify the pedagogical method employed here; analysis of selections from music literature, often in voice-leading reductions. After an opening chapter that reviews some general features of the late Baroque period, there is a brief survey of melodic characteristics, and a study of procedures associated with two, three, and four voices.--Provided by publisher
Detalles del Libro
- Name: A Practical Approach to 18th Century Counterpoint
- Autor: Robert Gauldin
- Categoria: Libros,Arte, cine y fotografÃa,Música
- Tamaño del archivo: 14 MB
- Tipos de archivo: PDF Document
- Descargada: 196 times
- Idioma: Español
- Archivos de estado: AVAILABLE
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A practical approach to eighteenthcentury counterpoint get this from a library a practical approach to eighteenthcentury counterpoint robert gauldin this volume emphasizes developing analytical and writing skills in the contrapuntal technique of the eighteenth century the orientation is strongly stylistic dealing mainly with the polyphony of
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A practical approach to 16th century counterpoint revised titles of related interest from waveland press gauldin a practical approach to 18th century counterpoint revised edition isbn 9781478604709 and soderlundscott examples of gregorian chant and sacred music of the 16th century isbn 9780881339093
Principles of counterpoint dolmetsch applications possible we will approach counterpoint as a form of training in musical composition instead of as a discipline in itself we will try to define general principles of counterpoint not rigidly but in ways that are transferable to real musical situations and which are not limited to the style of one period
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