Counterpoint and compositional process in the time of Dufay : perspectives from German musicology /

Subjects:

Medieval music and the art of memory / by Berger, Anna Maria Busse

Table of Contents: “…Prologue : the first great dead white male composer -- The construction of the memorial archive -- Tonaries : a tool for memorizing chant -- Basic theory treatises -- The memorization of organum, discant, and counterpoint treatises -- Compositional process in polyphonic music -- Compositional process and transmission of Notre Dame polyphony -- Visualization and the composition of polyphonic music.…”

Medieval music and the art of memory / by Berger, Anna Maria Busse

Table of Contents: “…Prologue : the first great dead white male composer -- The construction of the memorial archive -- Tonaries : a tool for memorizing chant -- Basic theory treatises -- The memorization of organum, discant, and counterpoint treatises -- Compositional process in polyphonic music -- Compositional process and transmission of Notre Dame polyphony -- Visualization and the composition of polyphonic music.…”
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Classical Polyphony / by P. Samuel, Rubio

Table of Contents: “…9 THE USE OF THE SEMITONÍA APART FROM CADENCES10 CHROMATIC PROGRESSION; Ascending chromatic progression; Descending chromatic progression; Augmented and diminished intervals; 11 THE UNDERLAYING OF TEXT; The problem; The sources of information; The ten rules of Zarlino; Part II Musical Forms of Classical Polyphony; 12 THE GENERAL THEORY OF MUSICAL FORMS; The materials of construction; Modality and tonality; Harmony; Counterpoint; 13 THE THEMES; Borrowed themes; Melodic themes; Polyphonic themes; Original themes; Text and rhythm; 14 ORGANIZATION OF THE COMPLETE POLYPHONIC FABRIC; The beginning…”
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Classical polyphony / by Rubio, Samuel

Table of Contents: “…9 THE USE OF THE SEMITONÍA APART FROM CADENCES10 CHROMATIC PROGRESSION; Ascending chromatic progression; Descending chromatic progression; Augmented and diminished intervals; 11 THE UNDERLAYING OF TEXT; The problem; The sources of information; The ten rules of Zarlino; Part II Musical Forms of Classical Polyphony; 12 THE GENERAL THEORY OF MUSICAL FORMS; The materials of construction; Modality and tonality; Harmony; Counterpoint; 13 THE THEMES; Borrowed themes; Melodic themes; Polyphonic themes; Original themes; Text and rhythm; 14 ORGANIZATION OF THE COMPLETE POLYPHONIC FABRIC; The beginning…”
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