The cantorial movement – the older form of the chorale movement – is associated on the one hand with numerous composers of the late 16th and 17th centuries, among them Michael Praetorius, Melchior Vulpius, Hans Leo Haßler, Johann Hermann Schein and Johann Crüger; the arc spans from Lucas Osiander (1586) to Gottfried Vopelius (1682). On the other hand, the cantional movement offers insights into fundamental movement techniques, beginning with the consonant movement and its elementary prerequisites, above all the “tables”, which offer a basic movement technique for other areas such as harmony. In the second part, the central chapters on ending, harmony and composition are followed by dissonance treatment and chromaticism as extensions of the stylistic spectrum. The book concludes with analyses of selected movements from the entire period of the cantorial movement. More than 600 musical examples guarantee a practice-oriented course that is especially recommended for school and church musicians, composers and musicologists, but also for practitioners, experts and lovers of “early music”.
The Origin and Possible Usage of Transgressio in Music Theory Classes
Source(s) of analysis: Score Musical work: 3 Rosenkavalier, Concerti musicali Op. 6 No 7 (3rd movement), Piano Concerto KV 414, Solche hergelaufnen Laffen / Die Entführung aus dem Serail, Stabat mater, Symphony 86, Trio Sonata Op. 4 No. 1 (3rd movement), Trio Sonata VII/2 Op.3, Von den Stricken meiner Sünden / St. John Passion Year of creation: 1689, 1694, 1698, 1724, 1736, 1782, 1786, 1911 Composer's name: Bach, Corelli, Haydn, Mozart, Pergolesi, Strauss, Torelli Methods of analysis: Conventional / Traditional analysis, Rhetoric analysis, Structural analysis, Style analysis
Target Group / Study LevelLevel of music analysis knowledge: Beginner, Intermediate
Study cycle: Bachelor
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