Studies on the History of Musical Style |
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Page 87
... result of textural changes than a conscious innovation . That this was not the whole story , however , is indicated by the fact that one of the Masses with few crossings , Missa Caput , still has a repetitious bass . The fact that this ...
... result of textural changes than a conscious innovation . That this was not the whole story , however , is indicated by the fact that one of the Masses with few crossings , Missa Caput , still has a repetitious bass . The fact that this ...
Page 88
Arnold Salop. bass may well have been a result of the new conception of texture rather than a conscious goal . Whether the result of textural changes or of purposeful in- novation , it was not long before the designed bass was turned to ...
Arnold Salop. bass may well have been a result of the new conception of texture rather than a conscious goal . Whether the result of textural changes or of purposeful in- novation , it was not long before the designed bass was turned to ...
Page 218
... result of a brief interruption ; with the resump- tion of the upward drive very quickly thereafter , its subordinate or preparatory function becomes clearly defined . The same relation of intensities is , of course , found in the ...
... result of a brief interruption ; with the resump- tion of the upward drive very quickly thereafter , its subordinate or preparatory function becomes clearly defined . The same relation of intensities is , of course , found in the ...
Contents
FOREWORD by John W Grubbs | 7 |
INTRODUCTION | 13 |
TWO The Secular Polyphony of Guillaume | 39 |
Copyright | |
3 other sections not shown
Common terms and phrases
Arnold Schoenberg attempt Bach Bach's ballade baroque music basic bass Beethoven beginning build-up cadence cadential Cantus chorale chords climactic climax commitment composition considerable contrast course create culmination curve degree descent designed dissonance dramatic dynamic level effect element emotional energy evidence evocative Example excursion expectation flow forces formulated fugue furthermore Guillaume de Machaut harmonic harmonic rhythm Haydn impression instance intensification intensity Jacob Obrecht kind leading-tone listener Machaut major means measures melodic merely minor mood motet motion move movement musicology narrative notes obviously Ockeghem organization ostinato overtone series passage pattern phrase pitch polyphonic presented question reaction reentry resolved result rhythmic activity rise ritornello romantic scale Schoenberg second theme seems sense of drive sense of logical shape significant strong style subdominant suggest symphony Tempered Clavier tension texture thematic third tion tonality tonic trend triad Victimae paschali laudes virelais voices