Book contents
- The Art of Counterpoint from Du Fay to Josquin
- The Art of Counterpoint from Du Fay to Josquin
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Acknowledgments
- Note on Musical Examples
- Abbreviations
- Introduction
- Part I Starting Points
- 1 An Esthetics of Opposition That Privileges Intensification, Deintensification, and Dramatic Arcs – and What Came Before and After
- 2 A Discursive Vacuum
- Part II Tinctoris’s Varietas
- Part III Fundaments of the Art
- Part IV The Art in Action
- Book part
- Bibliography
- Index of Compositions
- General Index
1 - An Esthetics of Opposition That Privileges Intensification, Deintensification, and Dramatic Arcs – and What Came Before and After
from Part I - Starting Points
Published online by Cambridge University Press: 05 December 2024
- The Art of Counterpoint from Du Fay to Josquin
- The Art of Counterpoint from Du Fay to Josquin
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Acknowledgments
- Note on Musical Examples
- Abbreviations
- Introduction
- Part I Starting Points
- 1 An Esthetics of Opposition That Privileges Intensification, Deintensification, and Dramatic Arcs – and What Came Before and After
- 2 A Discursive Vacuum
- Part II Tinctoris’s Varietas
- Part III Fundaments of the Art
- Part IV The Art in Action
- Book part
- Bibliography
- Index of Compositions
- General Index
Summary
Chapter 1 introduces three esthetic paradigms – kaleidoscopic, alternatim, and oppositional – that can help ground discussions of musical flow. Using examples spanning Gregorian chant through mid sixteenth-century polyphony, the chapter makes a case for a shift to and from an esthetics of opposition in the years surrounding the period at the heart of the book.
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- The Art of Counterpoint from Du Fay to Josquin , pp. 15 - 38Publisher: Cambridge University PressPrint publication year: 2024