Get 20M+ Full-Text Papers For Less Than $1.50/day. Subscribe now for You or Your Team.

Learn More →

The Problem of the Retrieval of Musical Knowledge The Thoroughbass Tradition and Its Relationship to Rameau

The Problem of the Retrieval of Musical Knowledge The Thoroughbass Tradition and Its Relationship... Jean-Philippe Rameau’s understanding of harmony comes to us in the form of a theory that presents many interpretive difficulties. What writers of figured bass manuals were trying to achieve, on the other hand, is often more accessible, though as they go about their practical concerns they often reveal surprisingly little of what they really understood, or reveal it indirectly or haphazardly, in the realm of harmony (the concept of triadic inversion, e.g.). In response to these difficulties, this article proposes a structuralist-synchronic framework for interpreting the rules of figured bass manuals and their application to certain paradigmatic examples drawn from such writers as Gottfried Keller, Denis Delair, Johann Adolph Scheibe, and Johann David Heinichen, in which knowledge of triadic inversions may or may not have been implied. And because writers of figured bass manuals as well as scholars make claims about hearing and learning, often unexamined, the author refers to distinctions and experimental work drawn from the cognitive sciences. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

The Problem of the Retrieval of Musical Knowledge The Thoroughbass Tradition and Its Relationship to Rameau

Journal of Music Theory , Volume 57 (2) – Sep 21, 2013

Loading next page...
 
/lp/duke-university-press/the-problem-of-the-retrieval-of-musical-knowledge-the-thoroughbass-diGbWX6tR1

References (12)

Publisher
Duke University Press
Copyright
Copyright © Duke Univ Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2323488
Publisher site
See Article on Publisher Site

Abstract

Jean-Philippe Rameau’s understanding of harmony comes to us in the form of a theory that presents many interpretive difficulties. What writers of figured bass manuals were trying to achieve, on the other hand, is often more accessible, though as they go about their practical concerns they often reveal surprisingly little of what they really understood, or reveal it indirectly or haphazardly, in the realm of harmony (the concept of triadic inversion, e.g.). In response to these difficulties, this article proposes a structuralist-synchronic framework for interpreting the rules of figured bass manuals and their application to certain paradigmatic examples drawn from such writers as Gottfried Keller, Denis Delair, Johann Adolph Scheibe, and Johann David Heinichen, in which knowledge of triadic inversions may or may not have been implied. And because writers of figured bass manuals as well as scholars make claims about hearing and learning, often unexamined, the author refers to distinctions and experimental work drawn from the cognitive sciences.

Journal

Journal of Music TheoryDuke University Press

Published: Sep 21, 2013

There are no references for this article.