Joseph Riepel's Theory of metric and tonal order, phrase and form : a translation of his Anfangsgründe zur musicalischen Setzkunst, chapters 1 and 2 (1752/54, 1755) with commentary
著者
書誌事項
Joseph Riepel's Theory of metric and tonal order, phrase and form : a translation of his Anfangsgründe zur musicalischen Setzkunst, chapters 1 and 2 (1752/54, 1755) with commentary
（Harmonologia series, no. 20）
Pendragon Press, c2014
- タイトル別名
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Theory of metric and tonal order, phrase and form
Anfangsgründe zur musicalischen Setzkunst
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注記
Originally published: Frankfurt : 1752 (chapter 1) and 1755 (chapter 2)
Bibliography: 459-464
Includes index
内容説明・目次
内容説明
This book offers a clear and consistent English translation of Riepel's first two volumes, which contain a substantially complete presentation of the first and most influential comprehensive compositional and analytical theory that relates to the major homophonic instrumental forms of the eighteenth century, the symphony, concerto, and sonata. Used in conjunction with the glossary of translated terms, this translation offers new illumination of Riepel's theory, even for native German speakers. The five chapters of commentary demonstrate that Riepel conceived of macrorhythms at the phrase and period level based on the dynamics of implication and realization; that he distilled this theory from his study of works by Benda and the Grauns, their teacher Pisendel, and, to some extent, his teacher Vivaldi; that Leopold Mozart used Riepel's approach to train his young son, Wolfgang; that Koch's theory of symphonic composition is essentially a partial modernization of Riepel's; and that Riepel's theory of analysis amounts to a kind of parsing that does not depend on intention for its validity. Riepel's focus on the Absatz ("comma") and cadence as segment-defining punctuations simplifies the task of informed listening for the modern student and provides a secure, consistent, and non-essentialist foundation for period-sensitive analysis and criticism.
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