Composition Performance

A Practical Approach to Sixteenth-Century Counterpoint by Robert Gauldin

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By Robert Gauldin

I'm in university and wanted the booklet once attainable. The cargo used to be quick and the booklet is actually precious. It not just explains the subject yet provides examples and assignments to do.

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On this view, appreciation is grounded in the experience of the work, and by ‘capacity to afford appreciation’ I take Iseminger to mean (or at least strongly to imply) that this ‘capacity’ is grounded in an artwork’s ability to afford a valuable firstorder experience of it. In short, it is grounded on aesthetic properties. Were this not the case, then the asymmetry between positive aesthetic and artistic properties noted above would not hold: so long as a work afforded appreciation under any mode of experience of it, we would have to grant that it has value as an artwork.

Taruskin’s comment on this piece is most apt in this regard: The music consists of a ceaseless ‘counterpointing’ of elements drawn from the stringently limited menu [of pitches and durations] just described, individual hypostasized objects in seemingly fortuitous relationships … One may fairly wonder why Messiaen would have wished to court an impression of randomness; or (perhaps more to the point) why one would wish to plan such an apparently haphazard outcome in such meticulous detail … In the case of Messiaen himself, answers are probably to be sought in his religious philosophy, in which the incomprehensible results of unknowable plans can symbolize the relationship of man and God.

32 unfoldingTimeDefinitief 24-03-2009 16:52 Pagina 33 Tempo, Metre, Rhythm. Time in Twentieth-Century Music In view of this, it comes as no surprise that Stockhausen would ultimately develop a theory of moment form in which an event in itself is considered as a temporal phenomenon, rather than a succession of events. The fifth important development in the composition of time since 1900 is the elaboration of the time / space continuum. The idea of a continuum suggests that pitch and duration are two dimensions of the same phenomenon: frequency (number of vibrations, number of beats per second) and that there is a continuity between these two dimensions.

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