Sergei Taneev's Vertical-Shifting Counterpoint
An Introduction
Dados Bibliográficos
| ID | 4390617 |
|---|---|
| Autores | Christopher Segall (University of Cincinnati, autor correspondente) |
| Ano | 2014 |
| Volume | 20 |
| Fascículo | 3 |
| Data de publicação | 2014-09-01 |
| Open Access | Sim |
| Tipo | ARTICLE |
| Periódico | Music Theory Online (JOURNAL) |
| Identificadores do periódico | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Editora | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.20.3.9 |
| OpenAlex | W1545475483 |
| Idioma | EN |
| Citações recebidas | 3 |
| Referências citadas | 2 |
In his 1909 treatisePodvizhnoi kontrapunkt strogogo pis'ma(Movable counterpoint in the strict style), Sergei Taneev reconceived invertible counterpoint as a type of "vertical-shifting" counterpoint, in which the voices move higher or lower in pitch but do not necessarily cross. The conditions on vertical shifting at all intervals operate according to the same mathematical principles; Taneev's system allows these conditions to be efficiently calculated. This article introduces Taneev's terminology and method in order to demonstrate how his work generalizes, refines, and extends the insights of prior theorists. I apply the method analytically to investigate shifts at uncommon intervals in one of Taneev's fugues, and I extend the method to account for Taneev's compositional use of counterpointalla riversa, or "reversible" counterpoint, in which the voices are flipped upside-down in melodic inversion
Art · Counterpoint · Epistemology · Linguistics · Literature · Melody · Musical · Sociology · Terminology · Mathematics · Music and Audio Processing · Music Technology and Sound Studies · Musicology and Musical Analysis · Philosophy
| Citações por ano | 0,38 |
|---|---|
| Intervalo de citações | 2018 - 2020 (3) |
| Altamente citado | Não |