Classical polyphony.
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Classical polyphony. Translated by Thomas Rive. by Samuel Rubio

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Published by University of Toronto Press in [Toronto] .
Written in English


  • Counterpoint,
  • Mensural notation.,
  • Musical notation,
  • Music -- Theory -- Medieval, 400-1500

Book details:

Edition Notes

Translation of La polifonía clásica. Bibliography: p. 163-170.

The Physical Object
Paginationxv, 178 p. facsims. ;
Number of Pages178
ID Numbers
Open LibraryOL18786029M

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ISBN: OCLC Number: Notes: Translation of La polifonía clásica. Description: xvi, xvi, pages illustrations, facsimiles, music 23 cm. Bernhard Meier is the author of The Modes Of Classical Vocal Polyphony ( avg rating, 2 ratings, 0 reviews, published ), Current Best Practice In /5. Polyphony generally rises to the challenges magnificently, however, and if the textures sometimes verge on the dense this is probably primarily the composer's fault. The sound is good and overall this is a fascinating and recommendable release/5(5). Polyphony and Stephen Layton present highlights from the choral repertoire by four twentieth-century American giants: Samuel Barber, Leonard Bernstein, Aaron Copland and Randall Thompson. Framed by Thompson's understated favorites Alleluia and Fare Well, the program includes Bernstein's Missa brevis, motets by Copland and - of course - Barber's /5(10).

The aim of the present paper is to suggest new approaches to a critical point in the histor(iograph)y of European sacred music: what used to be called ‚classical. This is a tutorial series covering some basic, introductory classical guitar techniques of the left hand. The essential characteristic of classical style guitar is multiple, simultaneous sounding voices. This means there is at least two melodic lines of notes happening at the same time. Or a melody with accompanying harmony notes, or chords. In most other styles, pop, rock, blues, country, the. Russian linguist and literary critic Mikhail Bakhtin used this word, literally meaning many voiced to describe literary writing that managed to liberate the voice of its characters from under the domination of the authorial or narratorial voice. In Problems of Dostoevsky's Poetics (), Bakhtin refers to polyphony as a new kind of artistic thinking because what he has in mind goes against.   In the Baroque, we find the harmonic pull harder to define due to the complexities of polyphony. Classical composers strove to create clarity and simplicity in their musical forms often through homophonic textures, that enabled the ear to more easily discriminate the underlying harmonic shapes. Both the Baroque and the Classical periods of.

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