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"So you want to write a canon?" An historically-informed new approach for the modern theory class
9 references·3 citing·27 second hop
"So you want to write a canon?" An historically-informed new approach for the modern theory class (2008)"So you want to write a canon?" An histor…Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century (2018)Counterpoint: The Polyphonic …Sixteenth-Century English Fuga: Sequential and Peak-Note Subjects (2007)Sixteenth-Century English Fug…Morley's rule for first-species canon (2006)Morley's rule for first-speci…Counterpoint pedagogy in the Renaissance (2002)Counterpoint pedagogy in the …Stacked Canon and Renaissance Compositional Procedure (1997)Stacked Canon and Renaissance…A practical approach to eighteenth-century counterpoint (1988)A practical approach to eight…A Practical Approach to Sixteenth-Century Counterpoint (1987)A Practical Approach to Sixte…The art of counterpoint (1968)The art of counterpointA Plaine and Easie Introduction to Practicall Musicke (1938)A Plaine and Easie Introducti…Compositional Artifice in the Music of Henry Purcell (2019)Compositional Artifice in the…Probing the Properties of the First Eight Notes of Bach’s Goldberg Ground Further: Revelations for Replicating the Soggetto and Opening Four Canons of BWV 1087 (2017)Probing the Properties of the…The origins of pervasive imitation (2015)The origins of pervasive imit…The Harvard dictionary of music (2003)Citation and authority in medieval and Renaissance musical culture : learning from the learned (2005)Le Istitutioni Harmoniche (1967)From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450-1500 (1996)The Oxford history of western music (2004)Metric Manipulations in Post-Tonal Music (2020)The New Grove Dictionary of Music and Musicians (1981)The Book of Memory: A Study of Memory in Medieval Culture (1991)The book of memory: a study of memory in medieval culture (1991)“Historically Informed” Corpus Studies (2012)Renaissance Improvisation and Musicology (2013)Thomas Campion’s “Chordal Counterpoint” and Tallis’s Famous Forty-Part Motet (2018)The Cambridge History of American Music (1998)Vocal performance in the seventeenth century (2012)The Cambridge History of Sixteenth-Century Music (2019)Rameau and Zarlino: Polemics in the "Traité de l'harmonie" (2000)Approaching renaissance music using Taneyev's theories of movable counterpoint (2018)Vicentino versus Palestrina: A computational investigation of voice leading across changing vocal densities (2021)The Predominant Six-Four in the Late Music of Richard Strauss (2023)Tonality (2023)Steps to Parnassus: contrapuntal theory in 1725 precursors and successors (2002)Exploring the Rhythm of the Palestrina Style (2012)Uniform Information Density in Music (2019)Compositional Strategies in Purcell’s Second Three-Part Fantazia (2015)Elena Malvezzi's keyboard manuscript: a new sixteenth-century source (1990)Organum –discantus–contrapunctusin the Middle Ages (2002)Wie wissenschaftlich muss Musiktheorie sein?. Chancen und Herausforderungen musikalischer Korpusforschung (2016)
this work references cited by second hop

References

  • 1938A Plaine and Easie Introduction to Practicall Musicke147 cited
  • 2018Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century55 cited
  • 1987A Practical Approach to Sixteenth-Century Counterpoint51 cited
  • 1968The art of counterpoint41 cited
  • 2002Counterpoint pedagogy in the Renaissance40 cited
  • 1988A practical approach to eighteenth-century counterpoint36 cited
  • 1997Stacked Canon and Renaissance Compositional Procedure29 cited
  • 2007Sixteenth-Century English Fuga: Sequential and Peak-Note Subjects21 cited
  • 2006Morley's rule for first-species canon19 cited

Cited by

  • 2015The origins of pervasive imitation9 cited
  • 2017Probing the Properties of the First Eight Notes of Bach’s Goldberg Ground Further: Revelations for Replicating the Soggetto and Opening Four Canons of BWV 10872 cited
  • 2019Compositional Artifice in the Music of Henry Purcell2 cited

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