Counterpoint, Composition and Musica Ficta
1st Edition
Published on 24. November 2015
Book
Paperback/Softback
348 pages
978-1-138-96687-1 (ISBN)
Description
Musica ficta is the practice of sharpening or flattening certain notes to avoid awkward intervals in medieval and Renaissance music. This collection gathers Margaret Bent's influential writings on this controversial subject from the past 30 years, along with an extensive author's introduction discussing the current state of scholarship and responding to critics. Also includes 25 musical examples.
More details
Series
Language
English
Place of publication
London
United Kingdom
Publishing group
Taylor & Francis Ltd
Target group
College/higher education
Dimensions
Height: 229 mm
Width: 152 mm
Thickness: 19 mm
Weight
508 gr
ISBN-13
978-1-138-96687-1 (9781138966871)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Margaret Bent
Counterpoint, Composition and Musica Ficta
E-Book
10/2013
Routledge
€69.99
Available for download
Margaret Bent
Counterpoint, Composition and Musica Ficta
E-Book
10/2013
Routledge
€69.99
Available for download
Margaret Bent
Counterpoint, Composition and Musica Ficta
Book
06/2002
1st Edition
Routledge
€252.78
Shipment within 15-20 days
Person
Margaret Bent is a Fellow of All Souls College, Oxford, and has been a key figure in the debates about late medieval and Renaissance music for nearly thirty years.
Content
I. Musica Recta and Musica Ficta II. Pycard's Credo No. 76 III. Renaissance Counterpoint and Musica Ficta IV. Diatonic Ficta V. Accidentals, Counterpoint and Notation in Aaron's Aggiunta to the Toscanello in Musica Dicatonic ficta Revisited: Josquion's Ave Maria in Context VII. Editing Early Music: The Dilemma of Translation VIII. Some Factors in the Control of Consonance and Sonority: Successive Composition and the Solus tenor IX. Pycard's Double Canon: Evidence of Revision? X. Text Setting in Sacred Music of the Early 15th Century: Evidence and Implications XI. Resfacta and Cantare super librum