On the Sensations of Tone As a Physiological Basis for the Theory of Music
On the Sensations of Tone As a Physiological Basis for the Theory of Music
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In our eReader you can find the full English version of the book. Read On the Sensations of Tone As a Physiological Basis for the Theory of Music Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book On the Sensations of Tone As a Physiological Basis for the Theory of Music
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Hence Pales- trina was certainly acquainted with this mode of treatment, through his teacher, but he had to deal with themes from the Gregorian Cantus firmus that moved in ecclesiastical tones, which he was forced to maintain strictly even in pieces where he himself invented or adapted the melodies. Now these modes necessitated a«T totally difterent harmonic treatment, which sounds very strange to moderns. As a specimen I will only cite the commencement of his eight-part Stahat mater.
BE ee: E-...i: 1 Sta - bat Here, at the commencement of a piece, just where we should require a steady characterisation of the key, we find a series of chords in the most varied keys, ^ from A major to F major, apparently thrown together at haphazard, contrary to all our rules of modulation. What person that was ignorant of ecclesiastical modes could guess the tonic of the piece from this commencement ? As such we find D at the end of the first strophe, and the sharpening of C to Cn in the first chord also points to D.
What to read after On the Sensations of Tone As a Physiological Basis for the Theory of Music?
You can find similar books in the "Read Also" column, or choose other free books by Hermann Von Helmholtz to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Hence Pales- trina was certainly acquainted with this mode of treatment, through his teacher, but he had to deal with themes from the Gregorian Cantus firmus that moved in ecclesiastical tones, which he was forced to maintain strictly even in pieces where he himself invented or adapted the melodies. Now these modes necessitated a«T totally difterent harmonic treatment, which sounds very strange to moderns. As a specimen I will only cite the commencement of his eight-part Stahat mater.
BE ee: E-...i: 1 Sta - bat Here, at the commencement of a piece, just where we should require a steady characterisation of the key, we find a series of chords in the most varied keys, ^ from A major to F major, apparently thrown together at haphazard, contrary to all our rules of modulation. What person that was ignorant of ecclesiastical modes could guess the tonic of the piece from this commencement ? As such we find D at the end of the first strophe, and the sharpening of C to Cn in the first chord also points to D.
What to read after On the Sensations of Tone As a Physiological Basis for the Theory of Music?
You can find similar books in the "Read Also" column, or choose other free books by Hermann Von Helmholtz to read onlineMoreLess
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