Music theory : problems and practices in the Middle Ages and Renaissance / by Lloyd Ultan.

Format:

Book

Author/Creator:

Ultan, Lloyd, 1929-1998.

Language:

English

Subjects (All):

Music theory--History--500-1400.

Music theory.

Music theory--History--15th century.

Music theory--History--16th century.

Aesthetics, Medieval.

Aesthetics, Modern.

Renaissance.

Physical Description:

1 online resource

Edition:

1st ed.

Place of Publication:

Minneapolis : University of Minnesota Press, c1977.

Summary:

Music Theory was first published in 1977. This is a textbook for the study of music theory, using a historical approach which enables the student to learn about compositional devices as they appeared and evolved in early Western music. The textbook and its accompanying workbook provide for the study of basic analytical and compositional techniques through the use of selected literature and original compositional techniques through the use of selected literature and original compositional assignments. With these teaching materials techniques which have been employed periodically throughout history, even into the most advanced of contemporary composition, may be mastered and absorbed as an integral part of the student's understanding of the aesthetic principles of art. Such compositional techniques as canon, cadential patterns, isorhythm, cantus firmus, initiation, and invertible counterpoint are among the many which are presented for study. A unique feature of the text is the introduction and employment of early notations. Including this dimension helps the student to understand the limitations imposed by the graphic tools of the composer upon his compositional decisions. This approach also enables the student to develop flexibility in the interpretation of notation. The book has been used in a preliminary form by hundreds of students and many different types of teachers. The students were typical college freshmen and sophomores, and none of the faculty had special training in the music of the periods studied, since any teacher with conventional theoretical training can easily master and present the material. The workbook contains 68 musical examples, and specific assignments for students are correlated with the textbook material.

Contents:

Intro

Contents

Preface

Part One. The Middle Ages

Chapter 1 Notation

Plainsong notation

Rhythmic modal notation

Franconian notation

Summary

Chapter 2 Plainsong

The ecclesiastical modes

Plainsong line

Placement of text

Solmization

Chapter 3 Monophonic Forms

Plainsong for the Mass and the Offices

Other sacred forms and techniques

Secular monophonic forms and performance styles

Plainsong analytical procedures: sacred

Plainsong analytical procedures: secular

Compositional considerations

Chapter 4 Early Polyphony: Organum

Strict organum

Free organum

Melismatic organum

Chapter 5 Ars Nova Notation

Modus, tempus, and prolatio

The four prolations

Rests

Syncopation (dotted and colored notes)

Analytical considerations

Chapter 6 Early Contrapuntal Concepts and Devices

Dissonance

Stimmtausch

Canon

Chapter 7 Late Contrapuntal Concepts and Devices

Chromaticism (Musica Ficta)

Hocket

Isorhythm

Cadences

Chapter 8 Sacred Polyphonic Forms

Organum

Conductus

Motet

Messe de Nostre Dame (Machaut)

Chapter 9 Secular Polyphonic Forms

Virelai

Ballade

Rondeau

Caccia

Madrigal

Instruments and instrumental forms

Chapter 10 The Late Fourteenth Century

Notational considerations

Rhythmic complexities

Part Two. The Renaissance

Chapter 11 Transition

White mensural notation

Chapter 12 Early Fifteenth Century - Dufay

Cantus firmus Mass: Se la face ay pale

Phrase and motivic structure

Rhythm

Counterpoint

Form

Chapter 13 Middle and Late Fifteenth Century - Johannes Ockeghem

Missa Mi-Mi

Syncopation.

Texture

Chapter 14 Late Fifteenth and Early Sixteenth Centuries - Josquin des Pres

Paired imitation

Repetition and canon

Invertible counterpoint

Sequence

Other devices

Chapter 15 Sixteenth-Century Secular Forms

Chanson

Other secular forms

Chapter 16 Palestrina: Part One

Contour of line and use of intervals

Rhythmic characteristics

Text treatment

General observations

Chapter 17 Palestrina: Part Two

Two-voice counterpoint

Dissonance treatment

Three (and more) voice counterpoint

Concluding observations

Chapter 18 Summary, Conclusions, and New Directions

Evolution of ideas

Harmony

Notes

Bibliography

Appendix

Index

A

B

C

D

E

F

G

H

I

J

K

L

M

N

O

P

Q

R

S

T

U

V

W

Z.

Notes:

Description based upon print version of record.

Includes bibliographical references and index.

ISBN:

0-8166-5549-9

1-4356-0631-0

OCLC:

182732659