Rosalia, Aloysius, and Arcangelo: A genealogy of the sequence

Journal of Music Theory

Volumn 47, Issue 2, 2003, Pages 225-272

  Harrison, Daniel ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 65849100352     PISSN: 00222909     EISSN: None     Source Type: Journal    
DOI: 10.1215/00222909-47-2-225     Document Type: Review

References (39)

1. Aldwell, Edward, and Carl Schachter. 1989. Harmony and Voice Leading. Second ed. Orlando, FL: Harcourt Brace Jovanovich.
2. Allsop, Peter. 1992. The Italian 'Trio' Sonata: From its Origins until Corelli. Oxford: Clarendon.
3. -. 1999. Arcangelo Corelli: New Orpheus of Our Times. Oxford: Oxford University Press.
4. Arnold, F. T. 1965. The Art of Acommpaniment from a Thorough-bass as Practiced in the XVIIth & XVIIIth Centuries. New York: Dover Publications.
5. Barnett, Gregory Richard. 1997. "Musical Issues of the Late Seicento: Style, Social Function, and Theory in Emilian Instrumental Music. " Ph. D. dissertation, Princeton University.
6. Bass, Richard. 1996. "From Gretchen to Tristan: The Changing Role of Harmonic Sequences in the Nineteenth Century. " 19th Century Music 19: 263-85.
7. Bukofzer, Manfred. 1947. Music in the Baroque Era: From Monteverdi to Bach. New York: Norton.
8. Burney, Charles. 1959. Tagebuch einer musikalischen Reise: durch Frankreich, Italien, Flandern, die Niederlande und am Rhein bis Wien, durch Böhmen, Sachsen, Brandenburg, Hamburg und Holland 1772-1773. Translated by C. D. Ebeling and J. J. C. Bode. Kassel: Bärenreiter.
9. Dahinaus, Carl. 1980. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by M. Whitall. Berkeley: University of California Press.
10. Erk, Ludwig, and Max Friedlaender. 1880. Deutscher Liederschatz. Eine Auswahl der beliebtesten Volks-, Vaterlands-, Soldaten-, Jäger-, Studenten- und Weihnachts Lieder für eine Singstimme mit Pianofortebegleitung. Leipzig: Peters.
11. Fenaroli, Fedele. [1800] 1978. Partimenti ossia Basso numerato. Bologna : A. Forni.
12. Fux, Johann Joseph. [1725] 1943. The Study of Counterpoint. Translated by A. Mann. New York: Norton, 1943.
13. Gasparini, Francesco. [1708] 1963. The Practical Harmonist at the Harpsichord. Translated by F. S. Stillings. Edited by D. L. Burroughs. New Haven: Yale School of Music.
14. Gauldin, Robert. 1997. Harmonic Practice in Tonal Music. New York: Norton.
15. Grampp, Florian. 2004. "Partimenti: Musik für Generalbass solo, II: Römische Quellen zur Partimento-Praxis. " Concerto: Das Magazin für Alte Musik 21. 194: 23-27.
16. Hanson, John. 1983. "Enumeration of Dissonance in the Masses of Palestina. " College Music Symposium 23: 50-64.
17. Hasty, Christopher. 1997. Meter as Rhythm. New York: Oxford University Press.
18. Jeppesen, Knud. 1970. The Style of Palestrina and the Dissonance. Translated by M. Hamerik. New York: Dover Publications.
19. Jersild, Jörgen. 1982. "Harmonikse Sekvenser i Dur- og Mol-tidens funktionelle Harmonik. " Dansk Arbog for Musikforskning. 13: 73-108.
20. Koch, Heinrich Christoph. 1802. Musikalisches Lexikon, welches die Theoretische und praktische Tonkunst, encyclopädisch bearbeitet, alle alten und neuen Künstwörter erklärt, und die alten und neuen Instrumente beschrieben, enthält. Offenbach am Mein: J. André.
21. Laitz, Steven. 2003. The Complete Musician: An Integrated Approach to Tonal Theory, Analysis, and Listening. New York: Oxford University Press.
22. Lester, Joel. 1992. Compositional Theory in the Eighteenth Century. Cambridge, Mass. : Harvard University Press.
23. Malcolm, Alexander. 1721. A Treatise of Musick: Speculative, Practical, and Historical. Edinburgh: printed for the author.
24. Mann, Alfred. 1958. The Study of Fugue. New Brunswick, N. J. : Rutgers University Press.
25. Moreno, Jairo. 1996. "Theoretical Reception of the Sequence and Its Conceptual Implications. " Ph. D. dissertation, Yale University.
26. -. 2000. "Challenging Views of Repetition: From Satzlehre to Melodielehre. " Journal of Music Theory 44: 127-70.
27. Pfannkuch, Wilhelm. 1994. Sequenz (Satztechnischer Begriff). In Die Musik in Geschichte und Gegenwart, edited by F. Blume and L. Finscher. Kassel: Bärenreiter.
28. Piston, Walter. 1941. Harmony. New York: Norton.
29. Rameau, Jean Philippe. [1722] 1971. Treatise on Harmony. Translated by P. Gossett. New York: Dover Publications.
30. Ricci, Adam. 2004. "A Theory of the Harmonic Sequence. " Ph. D. dissertation, University of Rochester.
31. Riepel, Joseph. [1752-86] 1996. Anfangsgründe zur musikalischen Setzkunst. Edited by T. Emmerig. Vienna: Böhlau Verlag.
32. Salzer, Felix, and Carl Schachter. 1969. Counterpoint in Composition: The Study of Voice Leading. New York: McGraw-Hill Book Co.
33. Schenker, Heinrich. [1922] 1987. Counterpoint. Translated by J. Rothgeb and J. Thym. New York: Schirmer Books.
34. Scholes, Percy A., ed. 1959. An Eighteenth-Century Musical Tour in Central Europe and the Netherlands. Vol. 2, Dr. Burney's Musical Tours in Europe. London: Oxford University Press.
35. Schubart, Christian Friedrich Daniel. [1774] 1839. "Von den Rosalien. " In Gesammelte Schriften und Schicksale. Stuttgart: I. Scheible.
36. Selfridge-Field, Eleanor. 1975. Venetian Instrumental Music from Gabrieli to Vivaldi. New York: Praeger.
37. Stein, Beverly Ann. 1994. "Between Key and Mode: Tonal Practice in the Music of Giacomo Carissimi. " Ph. D. dissertation, Brandeis University.
38. Talbot, Michael. 1992. Vivaldi. New York: Schirmer Books.
39. Tinctoris, Johannes. [1477] 1961. The Art of Counterpoint (Liber De Arte Contrapuncti). Translated by A. Seay. Rome: American Institute of Musicology.