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Sunday, April 26, 2020 | History

3 edition of Sixteenth-century polyphony found in the catalog.

Sixteenth-century polyphony

A. Tillman Merritt

Sixteenth-century polyphony

a basis for the study of counterpoint

by A. Tillman Merritt

  • 171 Want to read
  • 8 Currently reading

Published by Harvard University Press in Cambridge, Mass .
Written in English

    Subjects:
  • Counterpoint.,
  • Polyphony.

  • Edition Notes

    Some impressions give the publication date as 1964 (seventh printing).

    Statementby Arthur Tillman Merritt.
    The Physical Object
    Pagination215p. :
    Number of Pages215
    ID Numbers
    Open LibraryOL18421105M

    Sixteenth-century polyphony, a basis for the study of counterpoint Merritt, Arthur Tillman Counterpoint Music theory – History – 16th century MTM4 S5. Studies in counterpoint; based on the twelve-tone technique Krenek, Ernst . History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 1. Da Capo Press. June ^ Albright, Daniel (). Modernism and Music: An Anthology of Sources. University of Chicago Press. ISBN ^ Riemann, Hugo. History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 2.


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Sixteenth-century polyphony by A. Tillman Merritt Download PDF EPUB FB2

Furthermore, Jeppesen's repeated comments that 16th century polyphony is all based on line and not on chords is simply not true. 16th century counterpoint techniques stem from a conception of chords developed in the late 15th c., and several sixteenth century theorists deal with this in detail, Tomás de Santa Maria's account of a chordal Cited by: Sixteenth-Century Polyphony Hardcover – February 5, by Arthur Tillman Merritt (Author) See all 9 formats and editions Hide other formats and editions.

Price New from Used from Kindle "Please retry" $ — Author: Arthur Tillman Merritt. Additional Physical Format: Online version: Merritt, A. Tillman (Arthur Tillman). Sixteenth-century polyphony. Cambridge, Mass.: Harvard University Press,© Sixteenth-Century Polyphony have naturally not reverted to the exact type of counterpoint used during the highest period of its development in the sixteenth century; but the point of view is strikingly similar, namely, that one must look very carefully to one’s strands of melody, and independence of rhythm is Sixteenth-century polyphony book thing that possibly.

European polyphony rose prior to, and during the period of the Western Schism. Avignon, the seat of the antipopes, was a vigorous center of secular music-making, much of which influenced sacred polyphony. It was not merely polyphony that offended the medieval ears, but the notion of secular music merging with the sacred and making its way into the papal court.

Genre/Form: History: Additional Physical Format: Online version: Merritt, A. Tillman (Arthur Tillman). Sixteenth-century polyphony.

Cambridge, Mass., Harvard. Read "Sixteenth Century Polyphony - A Basic For The Study Of Counterpoint" by Arthur Tillman Merritt available from Rakuten Kobo. Tillman Merritt graduated from the University of Missouri in and was the first recipient of a new degree, Bachel Brand: Read Books Ltd.

Piety and Sixteenth-century polyphony book in Sixteenth-Century Holland Book Description: The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries, and reaching down to smaller parish churches.

She is the author of numerous essays and articles on 16th-century polyphony, and she is co-editor, with Bonnie Blackburn, of Eroticism in early modern music (Farnham, ). Her monograph, Women and music in sixteenth-century Ferrara, is forthcoming from Cambridge University @d by: 5.

- Counterpoint: the Polyphonic Vocal Style of the Sixteenth Century Dover Books on Music by Jeppesen, Knud. You Searched For: ISBN: Edit Your Search.

Results (1 - 25) of Find many great new & used options and get the best deals for Sixteenth Century Polyphony: A Basis for the Study of Counterpoint at the best online prices. In the Middle Ages and during a part of more modern times, counterpoint meant quite simply the same as polyphony.

Today, however, we think of counterpoint as one particular style among other polyphonic types. Just as polyphony immediately suggests the contrasting idea, homophony, so the term counterpoint calls to mind the correlative concept Author: Knud Jeppesen.

In vernacular texts of the sixteenth-century, polyphony is referred to as ‘choses faictes’ or ‘musique faite’ Sixteenth-century polyphony book simply as ‘musique’. page 21 note 3 ‘Le Patrem ’, from the first word sung at the entry of the choir, is a usual term for the Creed.

The result is an exceptionally useful resource, ideal for classroom use in teaching modal counterpoint. In Part One, Knud Jeppesen This classic introductory text focuses on the polyphonic vocal style perfected by Palestrina.4/5. Piety and Polyphony in Sixteenth-Century Holland - The Choirbooks of St Peter`s Church, Leiden by Eric Jas,available at Book Author: Eric Jas.

This book examines the music-making of four generations of princesses, noblewomen and nuns in Ferrara, as performers, creators, and patrons from a new perspective. It rethinks the relationships between polyphony and song, sacred and secular, performer and composer, patron and musician, court and by: 1.

From Our Blog. National Epidemics, Then and Now. Our current COVID crisis isn’t the first time this nation has faced an epidemic. Lindsay M. Chervinsky, author of The Cabinet: George Washington and the Creation of an American Institution, tells about the yellow fever outbreak that our country faced in its capital during its early years—and how our first president responded.

Piety and Polyphony in Sixteenth-Century Holland November 43 black and white, 14 line illustrations pages x cm Studies in Medieval and Renaissance Music Boydell Press.

Addeddate Identifier Identifier-ark ark://t7tn2cz8f Ocr ABBYY FineReader Ppi. This book does not give an accurate account of 16th century polyphony, but a dumbed-down version suitable for feeding undergraduates as pablum.

That does not mean it is worthless, because the method it presents (species counterpoint) does have a good deal of value in terms of developing voice-leading technique, but really only for composers /5(31).

Read this book on Questia. As suggested by the title, Dr. Jeppesen Counterpoint is a textbook on the polyphonic vocal style of the sixteenth century. But it is no ordinary textbook, because it maintains an unusually happy balance between theoretical and practical problems, between historical and systematic methodology.

(Latin, 'high') In fifteenth- and sixteenth-century POLYPHONY, a part in a range between the TENOR and the SUPERIUS; originally CONTRATENOR ALTUS. alto (from ALTUS) (1) Relatively low female voice, or high male voice. 13 Cori Spezzati in Composition and Sound David Bryant 14 The Frottola in the Veneto Giovanni Zanovello 15 Venetian Instrumental Music in the Sixteenth Century Eleanor Selfridge-Field 16 Language, Style, and Subgenre in Venetian-Language Polyphony Daniel Donnelly 17 Jewish Art Music in Late Sixteenth- and Early Seventeenth-Century Italy Don.

Sixteenth Century Polyphony - A Basic For The Study Of Counterpoint eBook: Merritt, Arthur Tillman: : Kindle StoreAuthor: Arthur Tillman Merritt.

In November publisher Boydell & Brewer published Piety and Polyphony in Sixteenth-Century Choirbooks of St Peter’s Church, Leiden, a book by Dr Eric Jas ().

The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries, and reaching down to smaller parish.

Buy the Sixteenth Century Polyphony - A Basic For The Study Of Counterpoint ebook. This acclaimed book by Arthur Tillman Merritt is available at in. In writing a foreword to the English translation of La Polifonía Clásica by P.

Samuel Rubio, O.S.A., acknowledgement must be made of the author’s eminence in the field of Renaissance musical scholarship.

Students of sixteenth-century polyphony have reason to be grateful both for scholarly articles such as have appeared in “La Ciudad de Dios” and for his editing of such collections as.

This book does not give an accurate account of 16th century polyphony, but a dumbed-down version suitable for feeding undergraduates as pablum. That does not mean it is worthless, because the method it presents (species counterpoint) does have a good deal of value in terms of developing voice-leading technique, but really only for composers /5(34).

Sixteenth-Century Polyphony. A Basis for the Study of Counterpoint. by MERRITT, Arthur Tillman.: and a great selection of related books, art and collectibles available now at Find many great new & used options and get the best deals for Piety and Polyphony in Sixteenth-century Holland JAS at the best online prices at.

Full text of "Counterpoint: the polyphonic vocal style of the sixteenth century;" See other formats. Learn sixteenth century venetian with free interactive flashcards. Choose from different sets of sixteenth century venetian flashcards on Quizlet.

This volume explores the expressive power of sixteenth-century vocal polyphony, giving special emphasis to the development of aural familiarity with the style. Every element of sixteenth-century counterpoint is defined, described, and liberally illustrated, included for analysis and singing are complete compositions and movements by Palestrina.

Piety and polyphony in sixteenth-century Holland: the choirbooks of St Peter’s Church, Leiden Jas, Eric "The musical culture of the Low Countries in the early modern period was a flourishing one, apparent beyond the big cathedrals and monasteries. Five hundred years ago a monk nailed his theses to a church gate in Wittenberg.

The sound of Luther’s mythical hammer, however, was by no means the only aural manifestation of the religious Reformations. This book describes the birth of Lutheran Chorales and Calvinist Psalmody; of how music was practised by Catholic nuns, Lutheran schoolchildren, battling Huguenots.

Beginning in these fines were recorded in books known as the Diarii Sistini. Occasionally these documents tell us other things, such as in the entry on this folio (translated below). Many people in the late sixteenth century were very concerned that the congregation could not understand the sacred words of a Mass sung in polyphony.

In the s the great Venetian publishing houses of Scotto and Gardano issued a cluster of publications whose title pages advertised a particular vocal disposition—“voci pari,” or equal voices. Analysis of the motets, their texts, and their musical treatment reveals an intimate connection with convents and conventual worship.

In this article I describe the relationships Cited by: 3. Giovanni Pierluigi da Palestrina (c. – 2 February ) was an Italian Renaissance composer of sacred music and the best-known 16th-century representative of the Roman School of musical composition.

He had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint, and his work is considered as. Merritt, Arthur Tillman Sixteenth-Century Polyphony A Basis for the Study of Counterpoint.

Aural images of Lost Traditions: Sharps and Flats in the Sixteenth Century. Toronto: University of Toronto Press, viii, pp. ISBN Experienced editors of Renaissance polyphony know only too well that a comprehensive and completely justifiable application of musica ficta cannot be achieved on the basis of rules contained.

IETY AND POLYPHONY IN SIXTEENTH-CENTURY. H. OLLAND. Can. J. of Netherlandic Studies/Rev. can. d’études néerlandaises.

39 (): As Jas describes, the St. Peter’s choirbooks are all that remain of what surely was a rich musical and liturgical life in Leiden prior to the Reformation. Other. zeven-getijdencolleges.Scholars have long stressed that chansons represent the most broadly disseminated polyphony of the sixteenth century, but Materialities is the first book to account for the cultural reach of the chanson across a considerable cross-section of European society.Abstract: The important contribution of Heinrich Isaac (ca.

–) to the genre of the proper of the mass has long been recognised. His work in this genre, collected in the monumental posthumously published Choralis Constantinus, was considered a landmark even in the sixteenth Isaac’s magnum opus was by no means isolated.

The mass proper played a much .