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Books > Arts & Architecture > Music > Western music, periods & styles > Classical music (c 1750 to c 1830)
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Compositional Theory in the Eighteenth Century (Paperback, Revised)
Loot Price: R1,650
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Compositional Theory in the Eighteenth Century (Paperback, Revised)
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This ambitious study offers a panoramic survey of musical thought
in the eighteenth century and, at the same time, a close analysis
of the important theoretical topics of the period. The result is
the most comprehensive account ever given of the theory behind the
music of late Baroque and early Classical composers from Bach to
Beethoven. While giving preeminent theorists their due, Joel Lester
also examines the works of over one hundred eighteenth- and
seventeenth-century writers to show how prominent theories were
received and applied in actual teaching situations. Beginning with
the influence of Zarlino and seventeenth-century theorists, Lester
goes on to focus on central traditions emerging from definitive
works in the early eighteenth century: species counterpoint in the
writings of Fux; thoroughbass as presented by Niedt and Heinichen;
Rameau's harmonic theories and Mattheson's views on melodic
structure. The author traces the development and interactions of
these traditions over the remainder of the century, through the
writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch,
Marpurg, Martini, Nichelmann, Riepel, and many others. This
historical overview is leavened throughout with accounts of
individual composers grappling with theoretical issues - Haydn's
careful study of Fux's treatise, Mozart's instructions on harmony
to his composition students, Beethoven's own student exercises. The
links between various theoretical traditions, the pervasive
influence of Rameau's harmonic thinking, and the harmonic theories
of Koch are just some of the numerous topics given their first full
treatment here. Many of the theorists Lester cites are either
unknown or often misunderstoodtoday. By bringing their
contributions to light and placing them within the context of
theoretical tradition, Lester offers a fresh perspective, one that
will inform and enhance any future study of this magnificent era in
Western music.
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