Eva Linfield
Biographic Data
| ID | 6307112 |
|---|---|
| NAME | Eva Linfield |
| GIVEN NAMES | Eva |
| FAMILY NAME | Linfield |
| SIGNATURE | LINFIELD E |
| AFFILIATIONS | Yale University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1992 |
| LATEST PUBLICATION YEAR | 2001 |
| H-INDEX | 0 |
Schütz, Heinrich
Moritz, Landgrave of Hesse
Modulatory Techniques in Seventeenth-Century Music
In his recent review of the English translation of Bernhard Meier's pioneering study, The Modes of Classical Vocal Polyphony, Anthony Cummings raises the question of tonal coherence in sixteenth-century polyphony. 'Certainly in most pieces', he observes, 'there is no tendency whatever to explore independent tonal areas, and therefore no tonal movement - no modulation - from one such area to another. He then goes on to refer to large-scale tonal c…
Modal and Tonal Aspects in Two Compositions by Heinrich Schütz
Our understanding of the long-term tonal relationships that grow out of seventeenth-century harmonic language is at an elementary stage. An enormous gap seems to exist between our ability to deal with, on the one hand, a sixteenth-century compositional language that basically adheres to a contrapuntal technique and tonally abides by the rules of modality and, on the other, an eighteenth-century tonal language for which we quietly assume harmonic …
No prominent works on this page.
Modal and Tonal Aspects in Two Compositions by Heinrich Schütz
Our understanding of the long-term tonal relationships that grow out of seventeenth-century harmonic language is at an elementary stage. An enormous gap seems to exist between our ability to deal with, on the one hand, a sixteenth-century compositional language that basically adheres to a contrapuntal technique and tonally abides by the rules of modality and, on the other, an eighteenth-century tonal language for which we quietly assume harmonic …
Modulatory Techniques in Seventeenth-Century Music
In his recent review of the English translation of Bernhard Meier's pioneering study, The Modes of Classical Vocal Polyphony, Anthony Cummings raises the question of tonal coherence in sixteenth-century polyphony. 'Certainly in most pieces', he observes, 'there is no tendency whatever to explore independent tonal areas, and therefore no tonal movement - no modulation - from one such area to another. He then goes on to refer to large-scale tonal c…
Schütz, Heinrich
Moritz, Landgrave of Hesse
Art (4 works) · Diverse Musicological Studies (2 works) · Historical Influence and Diplomacy (2 works) · History (2 works) · Literature (2 works) · Musicology and Musical Analysis (2 works) · Acoustics (1 work) · Artificial Intelligence (1 work) · Computer Science (1 work) · European Political History Analysis (1 work)