By Robert Gauldin
Gauldin has ready a e-book which leads you rigorously and methodically via counterpoint. The books assignments are its maximum assest. simply because they typically construct on prior assignments, make sure to not pass any. the teachings are competitive, yet simply in the course of self-study.
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Gauldin has ready a e-book which leads you rigorously and methodically via counterpoint. The books assignments are its maximum assest. simply because they generally construct on prior assignments, make sure to not pass any. the teachings are competitive, yet simply in the course of self-study.
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Additional resources for A Practical Approach to Eighteenth-Century Counterpoint
Leopold Mozart comments on the instinctive use of rhetorical devices in his Versuch einer gründlichen Violinschule: 7. Quintilian, The ‘Institutione Oratoria’, trans. by H. E. Butler, 5 vols (London: Heinemann, 1920), vol. 1, pp. 171–3. 8. Elaine R. Sisman, Haydn and the Classical Variation (Cambridge, MA: Harvard University Press, 1993), p. 19. 9. George J. Buelow, ‘The Loci Topici and Affect in Late Baroque Music: Heinichen’s Practical Demonstration’, Music Review 27 (1966), 16. 32 Words and Music The Appoggiature are little notes which stand between the ordinary notes and are not reckoned as part of the bar-time.
Confirmatio confutatio Supporting arguments are introduced, together with evidence. The speaker takes this opportunity to anticipate any arguments against his case, thus further persuading his audience that he has a solid grasp of the case he is handling. peroratio Conclusion, summing up. 20. The number of sections in an oration varies, depending on which treatise is being referred to. For example, Rhetorica ad Herennium cites six parts – divisio being included between narratio and confirmatio.
Pp. 91–2. 50. Bartel, Musica Poetica, pp. 184–90. 51 He labels one phrase-ending peroratio (conclusion), in effect turning what is treated as a structural term by Baroque theorists into a mere figure. He also includes dispositio in his list: dispositio was actually one of the phases of composition, a process of invention. To make matters worse, Ratner also refers to the ‘Doctrine of Affections’ as a concrete ‘existence’.