Combiata?
Danny Beer
Hey
Can anyone tell me what a "combiata" is? I think its a type of non-harmonic
tone, but I need a more exact definition. Also, any examples of it.
Thanks
DB
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Matthew Laney
versa I'm not positive
Joey Goldstein
Danny Beer wrote:
>
> *** post for FREE via your newsreader at post.newsfeeds.com ***
>
> Hey
>
> Can anyone tell me what a "combiata" is? I think its a type of non-harmonic
> tone, but I need a more exact definition. Also, any examples of it.
The Cambiata is a decoration of any movement (up or down) of a 2nd. The
target note is leaped past and then returned to by step.
Ie. You surround your target note, possibly an harmonic tone, with a
step on either side (possibly two non-harmonic tones).
Eg.
Chord = C
Target note = C
B C becomes B D C
B and D form a cambiata around C.
or
D C becomes D B C
D and B form a cambiata around C.
--
Joey Goldstein
Guitarist/Jazz Recording Artist/Teacher
Home Page: http://members.tripod.com/joeygoldstein
Email: <joegold AT sympatico DOT ca>
Dr.Matt
Joey Goldstein <joegold, AT, sympatico, DOT, ca> wrote:
>
>
>Danny Beer wrote:
>>
>> *** post for FREE via your newsreader at post.newsfeeds.com ***
>>
>> Hey
>>
>> Can anyone tell me what a "combiata" is? I think its a type of non-harmonic
>> tone, but I need a more exact definition. Also, any examples of it.
>
>The Cambiata is a decoration of any movement (up or down) of a 2nd. The
>target note is leaped past and then returned to by step.
Exactly so. The name "Cambiata" is also sometimes translated as "Change
tone", referring to a change of the direction of approach to the goal
tone.
C B becomes C A B , and thus the descending motion CB is changed into
the ascending motion AB...
AB becomes A C B , etc.
--
For spammers: http://www-personal.umich.edu/~fields/uce.htm
My CD "Kabala": http://www-personal.umich.edu/~fields/cd.html
Matt Fields DMA http://listen.to/mattaj TwelveToneToyBox http://start.at/tttb
"Is there a theorbo in the house?"
Christopher Hunt
of a "cambiata" or "changing-note" pattern. It starts with the chord-note,
of course, which not all cambiatas do.
Christopher Hunt
Hamilton Ontario Canada
Dr.Matt
Hmmm, the version of S.E.E. that I know starts out
G F# A G G _C....
That does not contain a cambiata, though it does contain a sort of
inverted turn.
Joey Goldstein
Welcomne to cyber psycholand.
Chris Hunt is the main classical guy at the college where I teach. He
knows his stuff!
--
Joey Goldstein
Joey Goldstein wrote:
>
> Hi Chris!
>
> Welcomne to cyber psycholand.
>
> Chris Hunt is the main classical guy at the college where I teach. He
> knows his stuff!
>
> Christopher Hunt wrote:
> >
> > The first four notes of "Some enchanted evening" give a not too bad example
> > of a "cambiata" or "changing-note" pattern. It starts with the chord-note,
> > of course, which not all cambiatas do.
Actually though, that is what Gordon Delamont calls a double auxiliary
rather than a cambiata.
Same device as Mona Lisa - Nat King Cole
Christopher Hunt
Joey Goldstein <nos...@nowhere.net> wrote in message
news:3AEE2CAA...@nowhere.net...
Hi Joey, I kind of like the term double auxiliary for that figure.
Now...if you omit the first note, would Delamont call that a cambiata?
(Dontcha think we should all be like Percy Grainger, and eliminate all Latin
and Greek terminology from music? A viola becomes a "middle fiddle" etc.)
Chris H.
Joey Goldstein
Christopher Hunt wrote:
>
> Joey Goldstein <nos...@nowhere.net> wrote in message
> news:3AEE2CAA...@nowhere.net...
> >
> >
> > Joey Goldstein wrote:
> > >
> > > Hi Chris!
> > >
> > > Welcomne to cyber psycholand.
> > >
> > > Chris Hunt is the main classical guy at the college where I teach. He
> > > knows his stuff!
> > >
> > > Christopher Hunt wrote:
> > > >
> > > > The first four notes of "Some enchanted evening" give a not too bad
> example
> > > > of a "cambiata" or "changing-note" pattern. It starts with the
> chord-note,
> > > > of course, which not all cambiatas do.
> >
> > Actually though, that is what Gordon Delamont calls a double auxiliary
> > rather than a cambiata.
> >
> > Same device as Mona Lisa - Nat King Cole
> Hi Joey, I kind of like the term double auxiliary for that figure.
> Now...if you omit the first note, would Delamont call that a cambiata?
If the weak tone occurs on a srong beat and its resolution occurs on a
weaker beat he would call it an appoggiatura.
D C
Dr.Matt
Christopher Hunt <chu...@home.com> wrote:
>
>Joey Goldstein <nos...@nowhere.net> wrote in message
>news:3AEE2CAA...@nowhere.net...
>>
>>
>> Joey Goldstein wrote:
>> >
>> > Hi Chris!
>> >
>> > Welcomne to cyber psycholand.
>> >
>> > Chris Hunt is the main classical guy at the college where I teach. He
>> > knows his stuff!
>> >
>> > Christopher Hunt wrote:
>> > >
>> > > The first four notes of "Some enchanted evening" give a not too bad
>example
>> > > of a "cambiata" or "changing-note" pattern. It starts with the
>chord-note,
>> > > of course, which not all cambiatas do.
>>
>> Actually though, that is what Gordon Delamont calls a double auxiliary
>> rather than a cambiata.
>>
>> Same device as Mona Lisa - Nat King Cole
>>
>> --
>> Joey Goldstein
>> Guitarist/Jazz Recording Artist/Teacher
>> Home Page: http://members.tripod.com/joeygoldstein
>> Email: <joegold AT sympatico DOT ca>
>
>Hi Joey, I kind of like the term double auxiliary for that figure.
>Now...if you omit the first note, would Delamont call that a cambiata?
Folks: remember, rhythm and harmonic context is important. The first
note must be locally consonant and on-beat.
>(Dontcha think we should all be like Percy Grainger, and eliminate all Latin
>and Greek terminology from music? A viola becomes a "middle fiddle" etc.)
I can't read Beowulf in the original language. Chaucer's language is too
Norman (i.e. Latin) for this suggestion.
Good luck.
Marc Cosyn
"Joey Goldstein" <nos...@nowhere.net> schreef in bericht
news:3AEBB295...@nowhere.net...
>
> Ie. You surround your target note, possibly an harmonic tone, with a
> step on either side (possibly two non-harmonic tones).
> Eg.
> Chord = C
> Target note = C
> B C becomes B D C
> B and D form a cambiata around C.
If this is on-beat, it seems rather a double appogiatura.
"Dr.Matt" <fie...@login.itd.umich.edu> schreef in bericht
news:j_KH6.409$3n.2...@news.itd.umich.edu...
> Folks: remember, rhythm and harmonic context is important. The first
> note must be locally consonant and on-beat.
Exactly so, but....
"Joey Goldstein" <nos...@nowhere.net> schreef in bericht
news:3AEBB295...@nowhere.net...
>
> The Cambiata is a decoration of any movement (up or down) of a 2nd. The
> target note is leaped past and then returned to by step.
It seems to me there is often a disagreement on the *2nd*. I often see
examples named cambiata like:
Chord = C
Consonant on-beat = C
Next consonant on-beat = G
Cambiata = C F# G
This is the opposite of an *échappée*, as we say *aanspringende noot*.
Diether de la Motte calls it *anspringende Nebennote*. [Who translated
who...? ;-) ]
Is this confusion common, and how do you call it over there?
Marc Cosyn
Joey Goldstein
Marc Cosyn wrote:
>
> Hi theoretical types, et all
>
> "Joey Goldstein" <nos...@nowhere.net> schreef in bericht
> news:3AEBB295...@nowhere.net...
> >
> > Ie. You surround your target note, possibly an harmonic tone, with a
> > step on either side (possibly two non-harmonic tones).
> > Eg.
> > Chord = C
> > Target note = C
> > B C becomes B D C
> > B and D form a cambiata around C.
>
> If this is on-beat, it seems rather a double appogiatura.
Exactly. If the 1st weak note of the figure is on a strong beat then a
cambiata like an ornamentation of an appoggiatura. A delayed resolution
of the appog. An ornamentation of an ornament so to speak.
> "Dr.Matt" <fie...@login.itd.umich.edu> schreef in bericht
> news:j_KH6.409$3n.2...@news.itd.umich.edu...
>
> > Folks: remember, rhythm and harmonic context is important. The first
> > note must be locally consonant and on-beat.
>
> Exactly so, but....
Matt's talking about auxiliaries here. In the melodic device known as an
auxiliary the first tone is a strong tone harmonically and rhythmically.
It is moved away from by step and then returned to by step.
> "Joey Goldstein" <nos...@nowhere.net> schreef in bericht
> news:3AEBB295...@nowhere.net...
> >
> > The Cambiata is a decoration of any movement (up or down) of a 2nd. The
> > target note is leaped past and then returned to by step.
>
> It seems to me there is often a disagreement on the *2nd*. I often see
> examples named cambiata like:
> Chord = C
> Consonant on-beat = C
> Next consonant on-beat = G
> Cambiata = C F# G
I've never seen that called a cambiata. Depending on the rhythm that's
what I call an unprepared approach note or an appoggiatura.
If there were an A just before the G then you would have the cambiata:
F# A G
In this case, depending on the rhythm, the F# is either an unprepared
approach note or an appoggiatura whose resolution is interupted by the A
which with the F# forms a cambiata around the G. The original "movement
(up or down) of a 2nd" is from F# to G. This is the step wise movement
being decorated.
> This is the opposite of an *échappée*, as we say *aanspringende noot*.
> Diether de la Motte calls it *anspringende Nebennote*. [Who translated
> who...? ;-) ]
The échappée involves a change in direction from an obvious step wise
resolution and can actually involve rather large leaps from the échappée
to the goal note.
B C (If the B is on a strong beat then it is an appoggiatura to the C)
The resolution of B to C can be interrupted with the following échappées
or escape notes.
B A C (ie. down to A before resolving to C) (The A is an échappée. In
this case the échappée is an ornamentation of the original appoggiatura.)
or
B G C (ie. down to G)
or
B F C (ie. down to F)
etc.
> Is this confusion common, and how do you call it over there?
I'm not confused yet. What's confusing you?
This type of melodic anlaysis _can_ get confusing when several
ornamentation devices are nested within other devices because it becomes
increasingly more difficult to see the original simple strong idea that
is being embellished.
I've got a melodic analysis along these lines of Charlie Parker's tune
Donna Lee on my web site. It's on page 215 of Chapter VI.
http://members.tripod.com/joeygoldstein/JGM/jgm.htm
I also talk about all these other melodic devices in this chapter.
Marc Cosyn
>
>
> Marc Cosyn wrote:
> >
> > Hi theoretical types, et all
> >
> > "Joey Goldstein" <nos...@nowhere.net> schreef in bericht
> > news:3AEBB295...@nowhere.net...
> > >
> > > Ie. You surround your target note, possibly an harmonic tone, with a
> > > step on either side (possibly two non-harmonic tones).
> > > Eg.
> > > Chord = C
> > > Target note = C
> > > B C becomes B D C
> > > B and D form a cambiata around C.
> >
> > If this is on-beat, it seems rather a double appogiatura.
>
> Exactly. If the 1st weak note of the figure is on a strong beat then a
> cambiata like an ornamentation of an appoggiatura. A delayed resolution
> of the appog. An ornamentation of an ornament so to speak.
Piston calls this a cambiata!
> > > The Cambiata is a decoration of any movement (up or down) of a 2nd.
The
> > > target note is leaped past and then returned to by step.
> >
> > It seems to me there is often a disagreement on the *2nd*. I often see
> > examples named cambiata like:
> > Chord = C
> > Consonant on-beat = C
> > Next consonant on-beat = G
> > Cambiata = C F# G
>
> I've never seen that called a cambiata. Depending on the rhythm that's
> what I call an unprepared approach note or an appoggiatura.
> > This is the opposite of an *échappée*, as we say *aanspringende noot*.
> > Diether de la Motte calls it *anspringende Nebennote*. [Who translated
> > who...? ;-) ]
>
> The échappée involves a change in direction from an obvious step wise
> resolution and can actually involve rather large leaps from the échappée
> to the goal note.
>
> The resolution of B to C can be interrupted with the following échappées
> or escape notes.
>
> B A C (ie. down to A before resolving to C) (The A is an échappée. In
> this case the échappée is an ornamentation of the original appoggiatura.)
> or
> B G C (ie. down to G)
> or
> B F C (ie. down to F)
> etc.
>
> > Is this confusion common, and how do you call it over there?
You gave the answer above I think: *unprepared approach note*
> I'm not confused yet. What's confusing you?
No, WE are not confused I think, I only conclude that there is no unanimity
(in various books) about these ornamentations. As for the échappée, in most
treateses the starting 2nd movement is a MUST, while others don't even
mention the unprepared approach note.
> This type of melodic anlaysis _can_ get confusing when several
> ornamentation devices are nested within other devices because it becomes
> increasingly more difficult to see the original simple strong idea that
> is being embellished.
Exactly.
Thanks
Marc Cosyn
PS: I found another definition for cambiata: *the Fuxian échappée*
Joey Goldstein
Marc Cosyn wrote:
>
> "Joey Goldstein" <nos...@nowhere.net> schreef in bericht
> news:3AF173EA...@nowhere.net...
> >
> >
> > Marc Cosyn wrote:
> > >
> > > Hi theoretical types, et all
> > >
> > > "Joey Goldstein" <nos...@nowhere.net> schreef in bericht
> > > news:3AEBB295...@nowhere.net...
> > > >
> > > > Ie. You surround your target note, possibly an harmonic tone, with a
> > > > step on either side (possibly two non-harmonic tones).
> > > > Eg.
> > > > Chord = C
> > > > Target note = C
> > > > B C becomes B D C
> > > > B and D form a cambiata around C.
> > >
> > > If this is on-beat, it seems rather a double appogiatura.
> >
> > Exactly. If the 1st weak note of the figure is on a strong beat then a
> > cambiata like an ornamentation of an appoggiatura. A delayed resolution
> > of the appog. An ornamentation of an ornament so to speak.
>
> Piston calls this a cambiata!
Then either your understanding of Piston, or of the given example or
Piston himself is wrong.
From the music dictionary at (by no means an authority but):
http://www.creativemusic.com/features/dictionary.html
Cambiata: In counterpoint, a nonharmonic tone inserted between a
dissonance and
its resolution.
Also:
cambiata. [1,2] also known as changing-tones; a pair of
nonharmonic-tones separated by the interval of a third, approached
stepwise and resolved to the note in between the third.
Now I am confused. What are you referring to here? Is there some example
that I called an "unprepared approach note" that you call something else?
I have seen classical harmony books that call what I call an "unprepared
approach note" an appoggiatura. Some books stress that part of the
definition of an appoggiatura is that it must be leapt to. My main
source for all of this, Gordon Delamont, makes no such restriction. Some
books do not stress that apps need to be on strong metrical positions
with their resolutions on weaker positions. This is the main thrust of
the device in Delamont's view, the view to which I am holding. I've been
told by some very knowledgeable people that Delamont's view of the
appoggiatura is more right than the others I have mentioned.
> > I'm not confused yet. What's confusing you?
>
> No, WE are not confused I think, I only conclude that there is no unanimity
> (in various books) about these ornamentations.
I don't think things are nearly as un-standardized as I think you are
making them out to be though.
> As for the échappée, in most
> treateses the starting 2nd movement is a MUST,
"starting 2nd movement" ?????
> while others don't even
> mention the unprepared approach note.
That's a term probably more prevalent in the jazz community than the
classical. It's a weak note on a weak beat that resolves by step, just
like a passing tone. But unlike the passing tone, which is approached by
step, the unprepared approach is leapt to. What do you classical guys
call that?
> > This type of melodic anlaysis _can_ get confusing when several
> > ornamentation devices are nested within other devices because it becomes
> > increasingly more difficult to see the original simple strong idea that
> > is being embellished.
>
> Exactly.
>
> Thanks
> Marc Cosyn
>
> PS: I found another definition for cambiata: *the Fuxian échappée*
Too Fuxian weird for me.
Dr.Matt
Marc Cosyn <marc....@pandora.be> wrote:
Etc.
But a cOmbiata is a biathlon featuring a regatta and an all-day tanning
session.
Marc Cosyn
> > "Joey Goldstein" <nos...@nowhere.net> schreef in bericht
> > news:3AF173EA...@nowhere.net...
> > >
> > > Marc Cosyn wrote:
> > Piston calls this a cambiata!
>
> Then either your understanding of Piston, or of the given example or
> Piston himself is wrong.
Indeed, the given example (in that Piston issue) is wrong.
> It seems to me there is often a disagreement on the *2nd*. I often see
> examples named cambiata like:
> Chord = C
> Consonant on-beat = C
> Next consonant on-beat = G
> Cambiata = C F# G
>
> This is the opposite of an *échappée*, as we say *aanspringende noot*.
> Diether de la Motte calls it *anspringende Nebennote*. [Who translated
> who...? ;-) ]
> >
> > You gave the answer above I think: *unprepared approach note*
>
> Now I am confused. What are you referring to here? Is there some example
> that I called an "unprepared approach note" that you call something else?
No. I was referring tot C F#(of beat) G (often wrongly named cambiata)
that we call *aanspringende noot*. I was wondering how you call this .So it
is the *unprepared approach note*. It my seem a tower of Babel, but we are
on the same line!
> > while others don't even
> > mention the unprepared approach note.
>
> That's a term probably more prevalent in the jazz community than the
> classical. It's a weak note on a weak beat that resolves by step, just
> like a passing tone. But unlike the passing tone, which is approached by
> step, the unprepared approach is leapt to. What do you classical guys
> call that?
If I understand this right, this is (as mentioned above) the *anspringende
Nebennote*
"Marc Cosyn" <marc....@pandora.be> schreef in bericht
news:o_iI6.43660$ii.60...@afrodite.telenet-ops.be...
> No, WE are not confused I think, I only conclude that there is no
unanimity
> (in various books) about these ornamentations.
Other examples, to illustrate:
Dubois calls the unprepared approach note: weak appogiatura.
Schouten gives as synonym for the échappée: nota cambiata.
It's a pity there is no standardization in nomenclature. Our students
sometimes consult different traités, and so becomes confused.
Marc Cosyn
Marc Cosyn
> In article <o_iI6.43660$ii.60...@afrodite.telenet-ops.be>,
> Marc Cosyn <marc....@pandora.be> wrote:
>
> Etc.
> But a cOmbiata is a biathlon featuring a regatta and an all-day tanning
> session.
But cAmbiata is the boys-voice in the period before the mutation, as Irwin
Cooper calls it the 'first change'. ;o)
Joey Goldstein
Marc Cosyn wrote:
>
>
> No. I was referring tot C F#(of beat) G (often wrongly named cambiata)
> that we call *aanspringende noot*. I was wondering how you call this .So it
> is the *unprepared approach note*. It my seem a tower of Babel, but we are
> on the same line!
So what is the english translation of "aanspringende"?
Marc Cosyn
Thats a difficult one! I'd say a note that *jumps-on*.
Marc Cosyn
Sigvard Selinus
"cambiata" (if I remember correctly) as when moving from
for instance C to B containing following notes in quick movement:
_C_ B G A _B_ (with C, G and the last B being concordant)
Perhaps this is what some of you in this thread have been
trying to explain, but I have a feeling that perhaps English
speaking might have a different reading of this than I have.
Comments?
/ Siggy (from Sweden)
Marc Cosyn
"Sigvard Selinus" <sigvard...@swipnet.se> schreef in bericht
news:3AF53770...@swipnet.se...
> When I studied Palestrina polyphony we talked about the
> "cambiata" (if I remember correctly) as when moving from
> for instance C to B containing following notes in quick movement:
> _C_ B G A _B_ (with C, G and the last B being concordant)
This seems a combination-ornament, that is striktly no cambiata. But as
cambiata is very often mentioned as a *freely ornamentation of a note* (I
can't find a better traduction of what I have in mind), and considering that
there is no unanimty in books and by teachers, it is possible that you
talked about cambiata in this example.
> Perhaps this is what some of you in this thread have been
> trying to explain, but I have a feeling that perhaps English
> speaking might have a different reading of this than I have.
Indeed, the different names in all languages is hard in these conversations!
Marc Cosyn
Thomas A. Korth
I have been waiting to hear the historical viewpoint on this thread! I
would add that in addition to your 5 note cambiata, I recall studying a 4
note one: "C B G A" where C and A were the consonances such as beginning on
the third degree of Dorian or Aeolian and decorating the passing note B with
the "unprepared" G.
The current trend in U.S. harmony texts seems to be to avoid the term
cambiata and, as has been mentioned by others, call the pattern changing
tones. But it certainly was a common Palestrina "riff" (melodic pattern if
this doesn't translate well to Swedish).
In his counterpoint text, Kent Kennan presents both C-B-G-A and C-B-D-C as
cambiatas with the first being the most common usage. Unfortunately, Piston
seems to have gotten it a bit confused as he omits the Palestrina versions.
Thanks for your response.
Tom
"Sigvard Selinus" <sigvard...@swipnet.se> wrote in message
news:3AF53770...@swipnet.se...
Thomas A. Korth
I have been waiting to hear the historical viewpoint on this thread! I
would add that in addition to your 5 note cambiata, I recall studying a 4
note one: "C B G A" where C and A were the consonances such as beginning on
the third degree of Dorian or Aeolian and decorating the passing note B with
the "unprepared" G.
The current trend in U.S. harmony texts seems to be to avoid the term
cambiata and, as has been mentioned by others, call the pattern changing
tones.
cambiatas with the first being the most common usage. Unfortunately, Piston
seems to have gotten it a bit confused as he omits the Palestrina versions.
Thanks for your response.
Tom
"Sigvard Selinus" <sigvard...@swipnet.se> wrote in message
news:3AF53770...@swipnet.se...
Dr.Matt
Marc Cosyn <marc....@pandora.be> wrote:
>
>"Sigvard Selinus" <sigvard...@swipnet.se> schreef in bericht
>news:3AF53770...@swipnet.se...
>> When I studied Palestrina polyphony we talked about the
>> "cambiata" (if I remember correctly) as when moving from
>> for instance C to B containing following notes in quick movement:
>> _C_ B G A _B_ (with C, G and the last B being concordant)
>
>This seems a combination-ornament, that is striktly no cambiata. But as
>cambiata is very often mentioned as a *freely ornamentation of a note* (I
Not in English. In English a cambiata is an ornament of stepwise motion
between *two notes*.
mschulter
: When I studied Palestrina polyphony we talked about the
: "cambiata" (if I remember correctly) as when moving from
: for instance C to B containing following notes in quick movement:
: _C_ B G A _B_ (with C, G and the last B being concordant)
Hello, there, and I would much agree with this definition, also followed
by Knud Jeppesen in his classic study of the Palestrina style. An example
showing the pattern of dissonance and resolution might be something like
this, with C4 showing middle C, with numbers above the notes showing
primary and secondary beats, and the numbers below the notes showing the
vertical or simultaneous intervals:
1 & 2 & | 1 ...
*
F4 E4 C4 D4 E4
F3 E3
8 7 5 6 8
Here, in an apparent exception to the usual rules of dissonance treatment,
we have a seventh resolving by download leap of a third (E4-C4) to a
fifth, rather than by stepwise motion. One might explain that in effect
the expected resolution by step to a sixth (F3-D4) is delayed and
"ornamented" by the interposed C4.
: Perhaps this is what some of you in this thread have been
: trying to explain, but I have a feeling that perhaps English
: speaking might have a different reading of this than I have.
: Comments?
Please let me say that I am one native speaker of English who agrees with
your usage, and Jeppesen's. Maybe the complication here is that the term
_cambiata_ can mean one thing to people accustomed to the use of the term
in connection with 16th-century polyphony, and another for people who use
it in other contexts.
Most appreciatively,
Margo Schulter
msch...@value.net
Sigvard Selinus
> Sigvard Selinus <sigvard...@swipnet.se> wrote:
> : When I studied Palestrina polyphony we talked about the
> : "cambiata" (if I remember correctly) as when moving from
> : for instance C to B containing following notes in quick movement:
> : _C_ B G A _B_ (with C, G and the last B being concordant)
>
> Hello, there, and I would much agree with this definition, also followed
> by Knud Jeppesen in his classic study of the Palestrina style.
Well my teacher during the 70's, Valdemar Söderholm, had in fact
studied for Jeppesen in Denmark (country next to Sweden, where
I live)
[snip]
> Please let me say that I am one native speaker of English who agrees with
> your usage, and Jeppesen's. Maybe the complication here is that the term
> _cambiata_ can mean one thing to people accustomed to the use of the term
> in connection with 16th-century polyphony, and another for people who use
> it in other contexts.
I must confess, I didn't know of another meaning (apart from the Palestrina
meaning) before reading this thread.
Thanks
/ Siggy
mschulter
: Well my teacher during the 70's, Valdemar Söderholm, had in fact
: studied for Jeppesen in Denmark (country next to Sweden, where
: I live)
Please let me say what an honor it is to share in this forum with someone
part of such a tradition of teaching. During my youth I found that reading
Jeppesen inspired and enriched my interest in Renaissance music and
counterpart, and your article gave me an opportunity to turn to his book
on Palestrina once again.
Jeppesen is for me one of the great figures of the 20th century, not only
for his scientific study of the Palestrina style and his part in the
renewal of counterpoint study on this basis, but for his profound
philosophy of music history.
As a medievalist, I may sometimes take a different view on some questions
-- but always, I hope, more wisely for having read his perspective and
appreciated his breadth of historical inquiry.