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Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent
5 references·0 citing·17 second hop
Yet Another Galant Schema: The Dominant Pedal Accompanied by a Chromatic Descent (2022)Yet Another Galant Schema: The Dominant P…Classical and Romantic Performing Practice (2025)Classical and Romantic Perfor…Johann Sebastian Bach’s Art of Fugue : Performance Practice Based on German Eighteenth-Century Theory (2021)Johann Sebastian Bach’s Art o…ON FEDELE FENAROLI'S PEDAGOGY: AN UPDATE (2018)ON FEDELE FENAROLI'S PEDAGOGY…Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples (2015)Counterpoint and Partimento: …TRAZOM'S WIT: COMMUNICATIVE STRATEGIES IN A ‘POPULAR’ YET ‘DIFFICULT’ SONATA (2013)TRAZOM'S WIT: COMMUNICATIVE S…The Silent Language (1959)The Interpretation of Cultures (1974)The Heartz: A Galant Schema from Corelli to Mozart (2014)Sonata Theory, Secondary Themes and Continuous Expositions: Dialogues with Form‐Functional Theory (2016)The Interpretation of Cultures (2017)Compositional theory in the eighteenth century (1993)Music in the Galant Style (2007)The art of partimento: history, theory, and practice (2012)Dictionnaire de musique (1913)The New Grove Dictionary of Music and Musicians (1981)“To Play as if from the Soul of the Composer”: The Idea of the Performer in Early Romantic Aesthetics (2005)The End of Early Music (2007)Beyond the score: music as performance (2014)Classical music as enforced Utopia (2016)Gjerdingen’s Schemata Reexamined (2018)The Volta: A Galant Gesture of Culmination (2020)Child Composers in the Old Conservatories: How Orphans Became Elite Musicians (2022)
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References

  • 2025Classical and Romantic Performing Practice264 cited
  • 2015Counterpoint and Partimento: Methods of Teaching Composition in Late Eighteenth-Century Naples79 cited
  • 2013TRAZOM'S WIT: COMMUNICATIVE STRATEGIES IN A ‘POPULAR’ YET ‘DIFFICULT’ SONATA50 cited
  • 2018ON FEDELE FENAROLI'S PEDAGOGY: AN UPDATE6 cited
  • 2021Johann Sebastian Bach’s Art of Fugue : Performance Practice Based on German Eighteenth-Century Theory3 cited

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