William Byrd’s Modal Practice. By John Harley. pp. xii + 162. (Ashgate, Aldershot and Burlington, Vt., 2005. £45. ISBN 0-7546-3441-8.)
Identifieur interne : 000110 ( Main/Exploration ); précédent : 000109; suivant : 000111William Byrd’s Modal Practice. By John Harley. pp. xii + 162. (Ashgate, Aldershot and Burlington, Vt., 2005. £45. ISBN 0-7546-3441-8.)
Auteurs : Hugh BenhamSource :
- Music and Letters [ 1477-4631 ] ; 2006.
English descriptors
- Entity :
- org : Boston University.
- pers : F. Chapter, John Harley, Lewis Lockwood, Mark Kroll, The, Thomas Morley, William Byrd, William Petre.
- Teeft :
- Additional discussion, Additional unnumbered example, Ambitious love, Anachronistic vocabulary, Available move, Beethoven scholarship, Beethoven sonata, Beethoven violin sonata, Book end, Boston university international beethoven, Bourgeois capitalism, Brief essay, Brief passage, Cadence, Cadence available, Cadential pattern, Certain abruptness, Characteristic pattern, Chord decrease, Chronological order, Coherent whole, Complete analysis, Complex nature, Comprehensive coverage, Comprehensive index, Consecutive part, Considerable problem today, Contrapuntal composition, Cuius latus perforatum, Deserving further consideration, Diatessaron, Different writer, Difficult reading, Disparate collection, Dorian transposition, Early writing, Easie introduction, Easy illusion, English composer, English psalm setting, Expressive content, Extent helpful, Extraordinary force, Final paper, Final paragraph, Final part, First scholarly book, Flat chord, Flat key, Flat side, Full range, Gain many, General overview, Grouping piece, Harley, Harmonic choice, Hexachord system, Hittall william modal practice, Illinois press, Important contribution, Interesting observation, Intermediate cadence, Inverted comma, Ionian, Ionian mode, Isbn john, Jacobean composer, John harley, John harley end, Key corresponding, Larger subject area, Last bar, Last violin sonata, Late source, Lewis lockwood, Little more, Little overlap, Local tonality, Logical path, Lydian diapente, Main argument, Main mode, Major chord, Many such symposium, Mark kroll, Melodic entity, Melodic movement, Melodic range, Melodic shape, Minor cadence, Minor key, Minor sonata, Minor third, Modal, Modal practice, Modal principle, Modal shape foreign, Modal system, Modal theory, Modally mixolydian, More helpful, More poignant, More remote shift, More substantial, More thoroughgoing change, More useful, Music example, Music theory, Musical collection, Musical quotation, Musical resolution, Musical structure, Note subsequent melodic idea, Obsessive concern, Octavespecific mode, Offer paper, Opening melodic subject, Other hand, Other note, Paper first, Particular pitch, Performance practice, Pierre boulez, Practicall musicke, Preliminary concept, Prominent place, Reasonable compromise, Religious system, Rhyme scheme, Same voice, Separate chapter, Separate section, Separate study, Seventeenth century, Sharp chord, Sharp extremity, Sharp side, Sheer warmth, Side issue, Similar frequency, Similar method, Simplistic certainty, Single paragraph, Sixteenth century, Specialized study, Specific expressive purpose, Specific passage, Subject matter, Subsidiary tonality, Substantial section, Subtle preparation, Such local tonality, Such thing, Sudden shift, Suitable terminology, Tenor part, Theoretical system, Theoretical writing, Time obscure, Tonal choice, Tonal design, Tonal development, Tonal dominant, Tonal individuality, Tonal relationship, Tonal universe, Tonality, Tonality change, Ultimate form, Unde fluxit sanguine, Unprecedented depth, Various form, Various type, Verum corpus, Violin sonata, Vocal clef, Vocem straight, Wagner literature, Welcome feature, Wellfocused subject, Whole section, William petre, William work, Wonderful move.
Url:
DOI: 10.1093/ml/gcl026
Affiliations:
Links toward previous steps (curation, corpus...)
Le document en format XML
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<term>Mark kroll</term>
<term>Melodic entity</term>
<term>Melodic movement</term>
<term>Melodic range</term>
<term>Melodic shape</term>
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<term>Minor key</term>
<term>Minor sonata</term>
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<term>Music example</term>
<term>Music theory</term>
<term>Musical collection</term>
<term>Musical quotation</term>
<term>Musical resolution</term>
<term>Musical structure</term>
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<term>Obsessive concern</term>
<term>Octavespecific mode</term>
<term>Offer paper</term>
<term>Opening melodic subject</term>
<term>Other hand</term>
<term>Other note</term>
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<term>Performance practice</term>
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<term>Separate section</term>
<term>Separate study</term>
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<term>Sharp extremity</term>
<term>Sharp side</term>
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<term>Similar method</term>
<term>Simplistic certainty</term>
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<term>Specialized study</term>
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<term>Specific passage</term>
<term>Subject matter</term>
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<term>Substantial section</term>
<term>Subtle preparation</term>
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<term>Such thing</term>
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<term>Suitable terminology</term>
<term>Tenor part</term>
<term>Theoretical system</term>
<term>Theoretical writing</term>
<term>Time obscure</term>
<term>Tonal choice</term>
<term>Tonal design</term>
<term>Tonal development</term>
<term>Tonal dominant</term>
<term>Tonal individuality</term>
<term>Tonal relationship</term>
<term>Tonal universe</term>
<term>Tonality</term>
<term>Tonality change</term>
<term>Ultimate form</term>
<term>Unde fluxit sanguine</term>
<term>Unprecedented depth</term>
<term>Various form</term>
<term>Various type</term>
<term>Verum corpus</term>
<term>Violin sonata</term>
<term>Vocal clef</term>
<term>Vocem straight</term>
<term>Wagner literature</term>
<term>Welcome feature</term>
<term>Wellfocused subject</term>
<term>Whole section</term>
<term>William petre</term>
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