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MU1649 Sept 25

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Music 1649A/B
Kevin Mooney

September 25 Readings/Class Notes – Theory Supporters and people that were not supportive of contrapuntal style Theory War! Giovanni Artusi (1540-1613) – prima practica - vs Claudio Monteverdi (1567-1643) – seconda practica Artusi – student of Zarlino – thought of music of Josquin de Prez – Zarlino loved de Prez's style – prima practica – more conservative – Published an article in 1600 called “The Imperfections of Modern Music” Monteverdi - comfortable with older style and newer style – began to look at the possibilities of this new style - contrapuntal music. - seconda practica – more liberal “These passages are contrary to what is well and good in harmony. They are harsh to the ear, rather offending it than delighting it; and to good rules left by those who have established the order and the bounds of this science, they bring confusion...” - Artusi “Some will wonder at this, not believing that there is any other practice than that taught by Zarlino. But let them be assured concerning consonances and dissonances that there is a different way of considering them...” - Monteverdi Seconda Practica - “Madrigal: Cruda Amarilli” (1605) – Monteverdi – two most exposed parts – bass and soprano – form a very exposed dissonance on a strong beat – Passing tones absolutely forbidden in species counterpoint on strong beats, used in this piece Agostina Agazzari (1578-1640) – A review of last class - “...vocal works of this kind are no longer in use.” – New kind of music is the way The Art of Music Reduced to Rational Principles. Joseph Saveur – discovery of the “chord of nature” - vibration now called the overtone series. – findings published in 1701 Jean-Philippe Rameau (1683-1764) Traité de l'harmonie (1722) – – *Fux treatise written in 1725 – theorizing a much older style – Palestrina style of the 16 century* – - Rameau writes about music in his own time first musical treatise to embody the rational empiricism of the Baroque – Fundamental bass – different than basso continuo – real sounding bass. Fundamental bass is an abstraction in relation of the basso continuo First time the bass was recognized as a creator of harmony even though it was doing this in practice for over a century. – Earlier music theorists looked at inversions as three distinct chords, but Rameau recognized t
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