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From dissonance to note-cluster: the application of musical-rhetorical figures and dissonances to thoroughbass accompaniment of early 17th-century Italian vocal solo music
9 references·0 citing·23 second hop
From dissonance to note-cluster: the application of musical-rhetorical figures and dissonances to thoroughbass accompaniment of early 17th-century Italian vocal solo music (2005)From dissonance to note-cluster: the appl…Die Kompositionslehre Heinrich Schützens in der Fassung seines Schülers Christoph Bernhard (1999)Die Kompositionslehre Heinric…Musica Poetica: Musical-Rhetorical Figures in German Baroque Music (1998)Musica Poetica: Musical-Rheto…Studies in the History of Italian Music and Music Theory (1994)Studies in the History of Ita…Li primi albori musicali (1969)Li primi albori musicaliCartella musicale nel canto figurato, fermo & contrapunto (1968)Cartella musicale nel canto f…Le Istitutioni Harmoniche (1967)Le Istitutioni HarmonicheL'armonico pratico al cimbalo (1967)L'armonico pratico al cimbaloAn introduction to the skill of musick (1966)An introduction to the skill …Source Readings in Music History (1950)Source Readings in Music Hist…BWV 886 as allegory of listening (1997)Alchemy and Counterpoint in an Age of Reason (1998)Musical Authorship from Schütz to Bach (2019)Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century (1998)Tonal organization in seventeenth-century music theory (2002)The Cambridge History of Musical Performance (2012)Art music from 1800 to 1860 (1998)A Survey of Sight-Singing Instructional Practices in Florida Middle-School Choral Programs (2007)On Compositional Process in the Fifteenth Century (1987)The Cambridge History of Literary Criticism (1999)Music and rhetoric (2002)Tonal Types and Modal Categories in Renaissance Polyphony (1981)Music Theory, Phenomenology, and Modes of Perception (1986)The End of Early Music (2007)'Mutato semper habitu': Heinrich Schutz and the Culture of Rhetoric (2009)Music, Modernity, and God (2013)Vocal performance in the seventeenth century (2012)The Cambridge History of Music Criticism (2019)Writing about Popular Music (2019)M onteverdi ' s E arly S eventeenth ‐C entury ‘H armonic P rogressions ’ (2011)Kanonmodelle ›Note gegen Note‹ in der Musiktheorie des 18. Jahrhunderts (2022)Review of Massimiliano Guido, ed.,Studies in Historical Improvisation fromCantare super LibrumtoPartimenti (Ashgate, 2017) (2017)Solmisationssysteme in El cantor instruido von Manuel Cavaza. Ein Fallbeispiel zur Methodenvielfalt im 18. Jahrhundert (2021)
this work references cited by second hop

References

  • 1950Source Readings in Music History307 cited
  • 1967Le Istitutioni Harmoniche258 cited
  • 1998Musica Poetica: Musical-Rhetorical Figures in German Baroque Music231 cited
  • 1994Studies in the History of Italian Music and Music Theory200 cited
  • 1966An introduction to the skill of musick61 cited
  • 1967L'armonico pratico al cimbalo54 cited
  • 1999Die Kompositionslehre Heinrich Schützens in der Fassung seines Schülers Christoph Bernhard16 cited
  • 1969Li primi albori musicali14 cited
  • 1968Cartella musicale nel canto figurato, fermo & contrapunto8 cited

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