| Series |
Harmonologia series ; no. 3
Harmonologia series ; no. 3. ^A246495
|
| Contents |
Introduction. History and the historian ; The modes and modal terminology ; Modes versus keys ; Solmization and its terminology ; Harmonic and arithmetic division ; Tuning systems -- Legacy of the sixteenth century modal theory in Glarean [Glareanus] and Zarlino -- German theorists before Lippius. Sethus Calvisius ; German modal theory around 1600 ; Growing recognition of the triad -- Johannes Lippius. Modes -- Mid-seventeenth century. Johann Cruger as transmitter of Lippius's theories ; The maintenance of traditional modal theory -- Toward twenty-four keys. The church keys ; Expanded listings of keys ; Andreas Werckmeister ; Evolution from the modes -- Twenty-four keys. French and English presentations of the keys ; German works -- Mattheson's aftermath. Buttsett's response ; The Orchestre defended ; Die Orchestre-Kanzeley -- The persistence of modal theory. Walther's Lexicon and its influence ; The mid and late eighteenth century -- Epilogue -- Appendix 1. Translation of articles from Clavis ad thesaurum magnae artis musicae by Thomas Balthasar Janowka ; Appendix 2. Mattheson's tuning system ; Appendix 3. Translations from Gradus ad parnassum by Johann Joseph Fux ; Appendix 4. Translation of the article Modus musicus from the Lexicon of Johann Gottfried Walther. |
| Abstract |
This study of music theory examines in detail the persistence of modal thinking in German-speaking areas, which coexisted with major-minor principles, and its impact on German music from the Baroque through the High Classical period. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 87014864 |
| ISBN | 0918728770 (lib. bdg.) : |
