Nikhil Hogan Show
169: Alberto Sanna (Whole Beat Metronome Principle)
updated
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Scholastic book referenced: "A History of Philosophy" by Rev. Paul J. Glenn PhD STD
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Lydia Goehr is Fred and Fannie Mack Professor of Humanities in the Department of Philosophy at Columbia University. Lydia Goehr is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1992; second edition with a new essay, 2007). Her research interests are in German aesthetic theory and in particular in the relationship between philosophy, politics, history, and music.
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John Salmon, piano, has distinguished himself on four continents, as both a classical and jazz artist. Critics have praised his “mesmerizing boldness and confidence” (Tallahassee Democrat, Tallahassee, Florida) and called him “a tremendous pianist” (El País, Madrid, Spain) and “dashing performer” (Journal de Genève, Geneva, Switzerland). His broad repertoire covers the classics – Mozart, Beethoven, Schubert, Schumann, Brahms – though his involvement with contemporary music is equally strong. Salmon has been at the forefront of performing new works by such celebrated composers as Dave Brubeck (who dedicated two compositions to Salmon), Nikolai Kapustin, and Lalo Schifrin. His performances and recordings on the Phoenix, Naxos, and Albany labels have been heard on radio stations throughout the U.S., including National Public Radio, WNYC in New York, and WFMT in Chicago; and on the national radio stations of Australia, Brazil, Canada, England, Finland, France, Germany, Holland, Hungary, Italy, Moldova, New Zealand, Norway, Spain, Sweden, Switzerland, and Ukraine. Salmon is a frequent guest performer at festivals in the U.S. and Europe, having appeared at the Piccolo Spoleto Festival (Charleston, South Carolina), Piano Festival Northwest (Portland, Oregon), Festival for Creative Pianists (Grand Junction, Colorado), Festival Internacional de Música del Mediterráneo (Cartagena, Spain), and the International Bartók Festival (Szombathely, Hungary). Other special appearances include an all-Liszt recital in Mexico City for the American Liszt Society and an all-Brubeck recital in Washington, DC for the Music Teachers National Association. As guest lecturer, Salmon has spoken on a wide array of topics – “Beethoven’s Shadow” (The Juilliard School), “September 1828: Schubert’s Last Three Piano Sonatas” (Boston Conservatory), “Adding Notes to Classical Scores” (Conservatorio de Música, Morelia, Mexico). As author, he has covered such subjects as “What Brubeck Got From Milhaud” and “Urtext, que me veux tu?,” appearing in American Music Teacher, The Chronicle of Higher Education, Clavier, College Music Society Newsletter, Piano & Keyboard, and Piano Today. His book The Piano Sonatas of Carl Loewe was published by Peter Lang Publishing in 1996. John Salmon has been a member of the faculty of The University of North Carolina at Greensboro School of Music since 1989.
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wessmans.com/Article/202424----regole-e-principj-di-sonarelezzioni-di-partimenti-vol-1-teori
Carlo Cotumacci Vol. 2
wessmans.com/Article/202425----regole-e-principj-di-sonarelezzioni-di-partimenti-vol-2-teori
Carlo Cotumacci Vol. 1&2
wessmans.com/Article/202424P----regole-e-principj-di-sonarelezzioni-di-partimenti-vol-1-2-teori
Peter's website: https://vantour.se
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Full interview here:
youtube.com/watch?v=yNOaI9ahQVE
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Full interview: youtu.be/_fYIQ0O0YnY
Description of book: "Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers—Rossini, Bellini, Mercadante, Donizetti, and Verdi—and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns—that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists."
Professor William Rothstein is Professor of Music Theory at Queens College and The Graduate Center of the City University of New York. He previously taught at Amherst College, Oberlin College, and the University of Michigan. He is author of Phrase Rhythm in Tonal Music and co-author (with Charles Burkhart) of Anthology for Musical Analysis. He has written and lectured extensively on music of the eighteenth and nineteenth centuries, with special emphasis on musical rhythm, Schenkerian theory and analysis, and nineteenth-century Italian opera.
Buy the Book (Amazon Affiliate link):
amzn.to/3vaS2fY
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"From Modes to Keys in Early Modern Music Theory" provides the first comprehensive study of the transition from the Renaissance modes to the major and minor keys of 18th-century music history. It proposes a model for the transition from modes to keys, illuminating the shift from vocal to keyboard ways of conceptualizing tonal space, and offers an in-depth survey of Western European music theory from the Middle Ages to 1800."
Michael R. Dodds is Associate Professor of Music History at the University of North Carolina School of the Arts. His callings as scholar, artist, and teacher are united by a life-long fascination with the conceptualization of tonal structures, especially in the contexts of sacred music. The story of Dodds as an artist is the subject of the 2023 documentary Blessed Unrest: A Composer's Awakening.
Readers can access the first chapter for free here: academic.oup.com/book/55156/chapter/424075219.
Readers may also use code AAFLYG6 for a 30% discount on the OUP website: global.oup.com/academic/product/from-modes-to-keys-in-early-modern-music-theory-9780199338153?cc=us&lang=en.
From Professor Dodds:
"The second chapter, “A Brief Introduction to Modal Systems,” will be especially helpful for readers new to modal theory.
Interested viewers can also watch Blessed Unrest, a one-hour award-winning inspirational documentary by Bonnemaison about my story as a composer, including my childhood and youth in the Amazon and studies in musicology at the Eastman School, for $5 here: vimeo.com/ondemand/blessedunrest/792696588. The film also features Tony-winning actor Rosemary Harris and is framed by the metaphor of the labyrinth that also culminates my book—incredibly beautifully filmed.
I would very much welcome hearing from your audience with questions or comments!"
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Article Abstract: "Beethoven’s lessons in Vienna with Haydn, Albrechtsberger, and Salieri are well known, but considerably less has been written about his earlier studies in Bonn. This article examines what Beethoven may have learned from two treatises that Gustav Nottebohm (1873) connected to Beethoven’s Bonn manuscripts: Johann Philipp Kirnberger’s Die wahren Grundsätze zum Gebrauch der Harmonie (1773) and Georg Joseph Vogler’s Gründe der Kuhrpfälzischen Tonschule in Beyspielen (1776, revised in 1778). I corroborate the evidence that links these treatises to Beethoven, analyze and categorize their contents, and suggest some parallels between materials in these treatises and Beethoven’s Bonn works including his “Elector” piano sonatas (WoO 47; 1783) and his two unusual preludes for piano or organ (op. 39; 1789, published in 1803).
From what we know of Beethoven’s studies in Vienna, several pillars of standard eighteenth-century musical education are missing: the study of solfeggio, thoroughbass, and harmony. This article makes the case that Beethoven encountered this training in Bonn. From Kirnberger’s Grundsätze, he would have learned about the fundamental bass, harmonic function and progression, and the principles of prolongation. In Vogler’s book, he would have encountered solfeggio exercises, common thoroughbass patterns including the Rule of the Octave, invertible sequences, diminution patterns, modulations schemes to every key, the fundamental bass, and more. Although these two treatises were not the only books Beethoven likely studied in Bonn, they offer probable windows into his formative lessons in music theory, improvisation, and composition."
thomasposen.com
Article link: mtosmt.org/issues/mto.23.29.4/mto.23.29.4.posen.html
Dissertation link, "Analyzing Beethoven’s eroica sketches: A form-functional perspective on the first-movement exposition":
escholarship.mcgill.ca/concern/theses/rf55zf13f
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@TiborSzasz48
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Link to article:
https://mozartstudies.edituramediamusica.ro/index.php/for-readers/current-issue
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We discuss improvisation upon a ground, Francesco Supriani's diminution technique works, partimento and the cello, music theory/composition, and more!
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From Episode 114: Job IJzerman (Harmony, Counterpoint, Partimento)