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A Historical and Algorithmic Study of Fux's Approach to Counterpoint

Permanent Link: http://ncf.sobek.ufl.edu/NCFE004088/00001

Material Information

Title: A Historical and Algorithmic Study of Fux's Approach to Counterpoint
Physical Description: Book
Language: English
Creator: Ewing, John
Publisher: New College of Florida
Place of Publication: Sarasota, Fla.
Creation Date: 2009
Publication Date: 2009

Subjects

Subjects / Keywords: Fux, Johann Joseph
Python
MIDI
Counterpoint
Zarlino, Gioseffo
Palestrina, Giovanni Pierluigi
Genre: bibliography   ( marcgt )
theses   ( marcgt )
government publication (state, provincial, terriorial, dependent)   ( marcgt )
born-digital   ( sobekcm )
Electronic Thesis or Dissertation

Notes

Abstract: In 1725 Johann Joseph Fux published the counterpoint guide Gradus ad Parnassum. Designed for the beginning composition student, it presents sixteenth-century polyphony taught by a fictional teacher meant to represent Palestrina. Twentieth-century scholarship demonstrated that Fux's guidelines contradict one another at times and that his examples are informed by practices not accounted for by the rules his text. Regardless, the work became the foremost text on counterpoint and is still in use today. A computer model of counterpoint practice based on Fux's notated examples shows that he was working with an implicit understanding of modern harmonic practice (namely keys and functional harmony) even though he renounced the use of major/minor keys in a debate with Johann Mattheson. By uncovering the shifts in musical thinking between the time of Palestrina and Fux's own time, it becomes clearer why Fux would choose a figure so far removed from his own time and thinking. Fux believed that the best pedagogical method for teaching composition was to begin with musical fundamentals, and Palestrina represented that practice to Fux. Despite the fact that Fux employed many implicit rules that did not fit the stile antico, Palestrina's symbolic utility made him a suitable model for Fux's goals.
Statement of Responsibility: by John Ewing
Thesis: Thesis (B.A.) -- New College of Florida, 2009
Electronic Access: RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE
Bibliography: Includes bibliographical references.
Source of Description: This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.
Local: Faculty Sponsor: Aarden, Bret

Record Information

Source Institution: New College of Florida
Holding Location: New College of Florida
Rights Management: Applicable rights reserved.
Classification: local - S.T. 2009 E95
System ID: NCFE004088:00001

Permanent Link: http://ncf.sobek.ufl.edu/NCFE004088/00001

Material Information

Title: A Historical and Algorithmic Study of Fux's Approach to Counterpoint
Physical Description: Book
Language: English
Creator: Ewing, John
Publisher: New College of Florida
Place of Publication: Sarasota, Fla.
Creation Date: 2009
Publication Date: 2009

Subjects

Subjects / Keywords: Fux, Johann Joseph
Python
MIDI
Counterpoint
Zarlino, Gioseffo
Palestrina, Giovanni Pierluigi
Genre: bibliography   ( marcgt )
theses   ( marcgt )
government publication (state, provincial, terriorial, dependent)   ( marcgt )
born-digital   ( sobekcm )
Electronic Thesis or Dissertation

Notes

Abstract: In 1725 Johann Joseph Fux published the counterpoint guide Gradus ad Parnassum. Designed for the beginning composition student, it presents sixteenth-century polyphony taught by a fictional teacher meant to represent Palestrina. Twentieth-century scholarship demonstrated that Fux's guidelines contradict one another at times and that his examples are informed by practices not accounted for by the rules his text. Regardless, the work became the foremost text on counterpoint and is still in use today. A computer model of counterpoint practice based on Fux's notated examples shows that he was working with an implicit understanding of modern harmonic practice (namely keys and functional harmony) even though he renounced the use of major/minor keys in a debate with Johann Mattheson. By uncovering the shifts in musical thinking between the time of Palestrina and Fux's own time, it becomes clearer why Fux would choose a figure so far removed from his own time and thinking. Fux believed that the best pedagogical method for teaching composition was to begin with musical fundamentals, and Palestrina represented that practice to Fux. Despite the fact that Fux employed many implicit rules that did not fit the stile antico, Palestrina's symbolic utility made him a suitable model for Fux's goals.
Statement of Responsibility: by John Ewing
Thesis: Thesis (B.A.) -- New College of Florida, 2009
Electronic Access: RESTRICTED TO NCF STUDENTS, STAFF, FACULTY, AND ON-CAMPUS USE
Bibliography: Includes bibliographical references.
Source of Description: This bibliographic record is available under the Creative Commons CC0 public domain dedication. The New College of Florida, as creator of this bibliographic record, has waived all rights to it worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law.
Local: Faculty Sponsor: Aarden, Bret

Record Information

Source Institution: New College of Florida
Holding Location: New College of Florida
Rights Management: Applicable rights reserved.
Classification: local - S.T. 2009 E95
System ID: NCFE004088:00001


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