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This ambitious study offers a panoramic survey of musical thought in the eighteenth century and, at the same time, a close analysis of the important theoretical topics of the period. The result is the most comprehensive account ever given of the theory behind the music of late Baroque and early Classical composers from Bach to Beethoven.

While giving preeminent theorists their due, Joel Lester also examines the works of over 100 seventeenth- and eighteenth-century writers to show how prominent theories were received and applied in actual teaching situations. Beginning with the influence of Zarlino and seventeenth-century theorists, Lester goes on to focus on central traditions emerging from definitive works in the early eighteenth century: species counterpoint in the writings of Fux; thoroughbass as presented by Niedt and Heinichen Rameau's harmonic theories; and Mattheson's views on melodic structure. The author traces the development and interactions of these traditions over the remainder of the century, through the writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch, Marpurg, Martini, Nichelmann, Riepel, and many others. This historical overview is leavened throughout with accounts of individual composers grappling with theoretical issues--Haydn's careful study of Fux's treatise, Mozart's instructions on harmony to his composition students, Beethoven's own student exercises.

The links between various theoretical traditions, the pervasive influence of Rameau's harmonic thinking, and the harmonic theories of Koch are just some of the numerous topics given their first full treatment here. Many of the theorists Lester cites are either unknown or often misunderstood today. By bringing their contributions to light and placing them within the context of theoretical tradition, Lester offers a fresh perspective, one that will inform and enhance any future study of this magnificent era in Western music.

Tabla de contenidos provista por Syndetics

• Introduction
• 1 Zarlino and His Legacy
• 2 Species Counterpoint and Fux's Gradus
• 3 Thoroughbass Methods
• 4 Rameau's Early Works
• 5 Rameau's Later Works and Controversies
• 6 Mattheson and the Study of Melody
• 7 Harmonic Perspectives on Counterpoint
• 8 Changing Aspects of Harmonic Theory
• 9 The Marpurg-Kirnberger Disputes
• 10 Riepel on Melody and Phrases
• 11 Koch: Toward a Comprehensive Approach to Musical Structure
• Epilogue
• Appendix 1 Rameau, Nouveau systecirc;me de musique theorique (1726): Chapter 23, "Examples of Errors Found in the Figures of Corelli's op. 5"
• Appendix 2 Concerning the Authenticity of Thoroughbass
• Methods Attributed to Albrechtsberger
• Bibliography
• Index

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CHOICE Review

Because the influence of Zarlino was still being felt by musicians two centuries later, Lester employs Zarlino's legacy as a springboard into the 18th century. The close of the 18th century (and of Lester's book) is represented by Heinrich Christoph Koch, whose comprehensive works substantially synthesize the compositional practices of the era. The synthesist par excellence, however, is Lester. He surveys, analyzes, links, and interrelates the works of more than 100 theorists of the 17th and 18th centuries while focusing on the period from about 1720 to 1790. This period comprises a unique and engrossing mix of species counterpoint, harmonic theory, thoroughbass, and melodic studies that reflect the central works of (among others) Fux, Heinichen, Rameau, Mattheson, Marpurg, Kirnberger, and Riepel. This book offers the most (only!) objective and comprehensive presentation to date of 18th-century thought on compositional theory as taught and practiced by the leading musicians of the Enlightenment. Recommended for anyone interested in 18th-century music, and especially for musicologists, theorists, and libraries. B. A. Thompson; Winthrop University

Notas de autor provistas por Syndetics

Joel Lester, Professor of Music at the City College and the Graduate School, City University of New York, was violinist for the Da Capo Chamber Players from 1970 to 1991.