| Record ID | marc_columbia/Columbia-extract-20221130-005.mrc:133497752:3308 |
| Source | marc_columbia |
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LEADER: 03308fam a2200409 a 4500
001 2102353
005 20220615203745.0
008 970612s1997 nyua b 001 0 eng
010 $a 97025691
020 $a0815323468 (alk. paper)
035 $a(OCoLC)37141261
035 $a(OCoLC)ocm37141261
035 $9AND6258CU
035 $a(NNC)2102353
035 $a2102353
040 $aDLC$cDLC$dDLC$dOrLoB-B
050 00 $aML170$b.C75 1997
082 00 $a782/.0092$221
245 00 $aCounterpoint and compositional process in the time of Dufay :$bperspectives from German musicology /$cedited and translated by Kevin N. Moll.
260 $aNew York :$bGarland Pub.,$c1997.
300 $axviii, 410 pages :$billustrations ;$c23 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aCriticism and analysis of early music ;$vv. 2
490 1 $aGarland reference library of the humanities ;$vv. 1982
504 $aIncludes bibliographical references (p. 369-394) and index.
505 00 $tSeries Editor's Foreword /$rJessie Ann Owens --$tForeword /$rTheodor Gollner --$tEditor's Introduction: Toward a Comprehensive View of Compositional Priorities in the Music of Dufay and his Contemporaries /$rKevin N. Moll --$g1.$tDufay - Creator of Fauxbourdon /$rHeinrich Besseler --$g2.$tToward a History of the Genesis of Fauxbourdon /$rRudolf von Ficker --$g3.$tTonal Harmony and Full Sonority: A Reply to Rudolf von Ficker /$rHeinrich Besseler --$g4.$tHarmony in the Cantus-Firmus Compositions of the Fifteenth Century /$rBernhard Meier --$g5.$tThe "Tonal Discant" and "Free Discant" Techniques of Composition in the Fifteenth Century /$rErnst Apfel --$g6.$tThe Cantus-Firmus Question in the Fourteenth and Early Fifteenth Centuries /$rGunther Schmidt --$g7.$tThe Origin of True Four-Voice Counterpoint in England /$rErnst Apfel --$g8.$tFour-Voice Counterpoint in the Fourteenth and Fifteenth Centuries /$rErnst Apfel --
505 80 $g9.$tThe Harmonic Structure of Late Medieval Music as a Foundation of Major-Minor Tonality /$rErnst Apfel --$g10.$tLate Medieval Harmonic Structure and Major-Minor Tonality /$rErnst Apfel --$g11.$tTonality and Harmony in the French Chanson between Machaut and Dufay /$rWolfgang Marggraf --$g12.$tThe Effect of Medieval English Polyphony upon the Development of Continental Cantus-Firmus Techniques and Tonal Structure /$rErnest H. Sanders --$gAppendix.$tGlossary and Concordance of Specialized Terms --$tBibliography: List of Works Cited and Supplementary Modern Editions.
650 0 $aMusic$y500-1400$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008108086
650 0 $aMusic$y15th century$xHistory and criticism.$0http://id.loc.gov/authorities/subjects/sh2008108084
650 0 $aCounterpoint$xHistory.$0http://id.loc.gov/authorities/subjects/sh2009122131
600 10 $aDufay, Guillaume,$d1397-1474$xCriticism and interpretation.
700 1 $aMoll, Kevin N.$0http://id.loc.gov/authorities/names/no96025412
830 0 $aCriticism and analysis of early music ;$vv. 2.$0http://id.loc.gov/authorities/names/n97060942
830 0 $aGarland reference library of the humanities ;$vv. 1982.$0http://id.loc.gov/authorities/names/n42011953
852 00 $boff,mus$hML170$i.C75 1997
852 00 $bmus$hML170$i.C75 1997