Name: Jumping to Conclusions: The Falling-Third Cadences in Chant, Polyphony, and Recitative (en Inglés)
SKU: 56068164
Price: 265890.00 CLP
Availability: InStock
Author: Richard Hudson
ISBN: 9780754654070

portada Jumping to Conclusions: The Falling-Third Cadences in Chant, Polyphony, and Recitative (en Inglés)

Jumping to Conclusions: The Falling-Third Cadences in Chant, Polyphony, and Recitative (en Inglés)

Formato

Libro Físico

Editorial

Routledge

Autor

Richard Hudson

Idioma

Inglés

N° páginas

224

Encuadernación

Tapa Dura

ISBN13

9780754654070

Jumping to Conclusions: The Falling-Third Cadences in Chant, Polyphony, and Recitative (en Inglés)

Richard Hudson (Autor) · Routledge · Tapa Dura

Libro Nuevo Importado

Envío: 15 a 20 días háb.

$ 483.440$ 265.890

-45%

Costos de importación incluídos en el precio ✅

Libro Nuevo

Quedan 10 unidades

$ 265.890

Llega entre el 22 Sep y el 29 Sep a Santiago, Región Metropolitana. Seleccionar ubicación

Agregar a lista de deseos

Reseña del libro "Jumping to Conclusions: The Falling-Third Cadences in Chant, Polyphony, and Recitative (en Inglés)"

This book concerns the cadences which reach their conclusion by jumping from scale degree 3 down to 1 or to 1-7-1. The chronological history commences in Gregorian Chant, where the falling third is often preceded by scale degree 4, forming the striking figure 4-3-1. The cadences move, along with the borrowed chant melodies, into the polyphony of the late 14th, 15th and 16th centuries. Here, melodic figures with the shape of 4-3-1, but on any scale degree, become a significant element of style. At cadence the unbroken melodic progression 4-3-1-7-1 may lie entirely in the upper voice, or 4-3-1 may occur in a lower voice followed by 7-1 in the upper. The general effect of the falling third changes as the surrounding musical elements change and as polyphony itself evolves through time. The cadences are reborn in recitative, first in an unbroken form with 4-3-1-7-1 in the voice, later in a broken form with 4-3-1 in the voice, 7-1 in the instrumental continuo part. Many evolving rhythmic, harmonic, melodic, and other elements are important in the cadences, but two are especially significant, for they lead to difficult problems for later performers. These concern (1) the structure in which the accompaniment's V chord is notated directly below the voice's first or single scale degree 1, and (2) the possibility of an appoggiatura on scale degree 2 between the two notes of the falling third. The book suggests some new and unexpected solutions to both these problems and concludes with a brief history of the 4-3-1 figure. The book includes many musical examples by composers such as Dunstable, Dufay, Josquin, Palestrina, A. Scarlatti, J.S. Bach, Handel, Telemann, Haydn, Mozart, Schubert, Mendelssohn and Rossini.