The Oxford History of Music, Band 1William Henry Hadow Clarendon Press, 1901 |
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Aeolian anapaestic Anonymus Antiphons appear autem AUTHENTUS breves brevis Cantus Mensurabilis century character composers composition concords conductus consonance contrary movement Cousse Coussemaker dactylic diapason diapente Diaphony Diatessaron dicitur discant Discantus Positio Vulgaris ditonus Dorian ecclesiastical ex hoc nunc examples existing fact fifth figures fourth free Organum given Greek Guido Histoire de l'Harmonie Hypolydian Iastian Ibid imperfect intervals Jean de Garlande ligature longa magadizing measure measured music melody Mesôn method metres Micrologus minor third motett notation occursus octave organal voice Organum purum original passages pause perceived perfect period Pérotin Plagius plainsong plica Polyphony practice principle probably Pseudo-Aristotle quod respect rhythm RHYTHMIC MODE rules scale Script seen semibreves semiditonus Semitone sound species specimens sung sunt supposed symphonious tenor teth tetrachord theorists third treatise Tritone Tritus unison upper vero vox organalis Vox principalis Walter Odington WOOLDRIDGE writers Λ Λ
Beliebte Passagen
Seite v - ... that of Ignoring the work done by lesser men; second, that of placing genius itself in a false perspective. The history of an art, like the history of a nation, is something more than a record of personal prowess and renown. Tendencies arise from small beginnings; they gather strength imperceptibly as they proceed; they develop, almost by natural growth, to important issues: and the great artist has commonly inherited a wealth of past tradition and effort which it is at once his glory and his...
Seite vi - ... paths of the Romantic movement — may all be rightly considered as parts of one comprehensive scheme : sometimes readjusting a balance that had fallen askew, sometimes recalling a form of expression that had been temporarily forgotten or neglected, never wholly breaking the design or striving at the impossible task of pure innovation. To trace the outlines of this scheme is the main object of the present work. The biographical method, admirable in its way and within its limits, has been sufficiently...
Seite v - But it is liable to two attendant dangers : first, that of ignoring the work done by lesser men ; second, that of placing genius itself in a false perspective. The history of an art, like the history of a nation, is something more than a record of personal prowess and renown. Tendencies arise from small beginnings ; they gather strength imperceptibly as they proceed; they develop, almost by natural growth, to important issues ; and the great artist has commonly inherited a wealth of past tradition...
Seite 26 - Graeco-Roman citharodi, and that the Hymns conform in all respects to the current classical practice ; moreover, the story of the Gregorian revision, and adoption of the plagal forms of the supposed original four modes, is now contradicted by the recently discovered fact that the Christian music as exhibited in the Antiphonary continued upon the old classical basis, without any change of importance, certainly until the end of the seventh century, or...
Seite vi - Music seem to suggest, music is probably in the same position as painting. " OVER six centuries of work went to provide Palestrina with his medium ; Purcell succeeded in the fullness of time to a long line of English ancestry ; Bach, though he owed much to Pachelbel and Buxtehude, much to Vivaldi and Couperin, was under still greater obligation to that steady growth and progress which the spirit of German church music had maintained since the days of Luther. Even those changes which appear the most...
Seite 26 - Gregorian revision and the adoption of the plagal forms of the supposed original four modes, is now contradicted by the recently discovered fact that the Christian music as exhibited in the Antiphonary continued upon the old classical basis, without any change of importance, certainly until the end of the seventh century, or nearly a hundred years after the time of St. Gregory.
Seite vi - ... provide Palestrina with his medium ; Purcell succeeded in the fullness of time to a long line of English ancestry ; Bach, though he owed much to Pachelbel and Buxtehude, much to Vivaldi and Couperin, was under still greater obligation to that steady growth and progress which the spirit of German church music had maintained since the days of Luther. Even those changes which appear the most violent in character — the Florentine Revolution, the rise of the Viennese School, the new paths of the...
Seite vi - ... wholly breaking the design, of striving at the impossible task of pure innovation. To trace the outlines of this scheme is the main object of the present work ... a complementary treatise which shall deal with the art rather than the artist; which shall follow its progress through the interchanges of success and failure, of aspiration and attainment ; which shall endeavour to illustrate from its peculiar conditions the truth of Emerson's profound saying that " the greatest genius is the most...
Seite 154 - Anonymus für dessen definitive Form. Denn er sagt allgemein von Perotins Werken weiter: „Liber vel libri Perotini erant in usu usque ad tempus Magistri Roberti de Sabilone et in choro Beate Virginis Maioris Ecclesie Parisiis et a suo tempore usque in hodiernum diem simili modo etc., prout Petrus notator optimus et Johannes dictus Primarius cum quibusdam aliis in maiori parte usque in tempus Magistri Franconis primi et alterius Magistri Franconis de Colonia, qui inceperunt in suis libris aliter...
Seite xi - ... part of the musical library of Notre Dame of Paris in the middle of the thirteenth century; it displays, therefore, work performed in the very centre of the musical activity of the time during its most brilliant period. The identification has been effected by means of a comparison of the MS. with an account of the Notre Dame series given by the anonymous author of a treatise De Mensuris et Discantu, now in the British Museum [Royal MSS.