study-music

Pre-classical music

Early (pre-Baroque) music theory

Rough evolution: monophonic Gregorian chants -> polyphony of various rules and centuries -> homophony

• Tonal Structures in Early Music
• Megan Kaes Long. Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century
  • https://mtosmt.org/issues/mto.22.28.3/mto.22.28.3.long.html
• The Josquin Research Project
• Joshua D. Albrecht, David Huron. A statistical approach to tracing the historical development of major and minor pitch distributions, 1400-1750
• Daniel C. Tompkins. Early Seventeenth-Century Harmonic Practice: A Corpus Study of Tonality, Modality, and Harmonic Function in Italian Secular Song with Baroque Guitar Accompaniment in Alfabeto Tablature
• Samuel Howes, 2021
• Bas Cornelissen, Willem Zuidema, John Ashley Burgoyne. Studying Large Plainchant Corpora Using chant21
• Dahlhaus Carl, Gjerdingen Robert O. Studies on the Origin of Harmonic Tonality
• https://books.google.ge/books/about/Fourteenth_century_French_Secular_Polyph.html?id=2QffwAEACAAJ&redir_esc=y and other works of Jennifer Bain (eg. on Machaut)
• Graham Strahle. Fantasy and Music in Sixteenth and Seventeenth-Century England
• Richard Parncutt, Daniel Reisinger, Andreas Fuchs, Fabio Kaiser. Consonance and prevalence of sonorities in Western polyphony: Roughness, harmonicity, familiarity, evenness, diatonicity
• Alexander Morgan. Automated Detection of Renaissance Cadential Voice Functions and Cadences, Renaissance Ternary Suspensions in Theory and Practice
• Karen Desmond, Emily Hopkins, Samuel Howes, Julie E. Cumming. Computer-aided Analysis of Sonority in the French Motet Repertory, ca. 1300–1350
• Eric Chafe. Monteverdi’s Tonal Language
• https://www.routledge.com/Upper-Voice-Structures-and-Compositional-Process-in-the-Ars-Nova-Motet/Zayaruznaya/p/book/9780367590758
  • Anna Zayaruznaya. The Monstrous New Art: Divided Forms in the Late Medieval Motet, review
• Polyphony in medieval Paris: The art of composing with plainchant
• 🎥 https://www.youtube.com/@EarlyMusicSources
• Vincenzo Borghetti, Tim Shephard (eds). The Museum of Renaissance Music. A History in 100 Exhibits
• http://digitalduchemin.org/
• The Cambridge History of Fifteenth-Century Music
• Jesse Rodin. Josquin’s Rome
• https://www.earlymusicsources.com/
• Charles M. Atkinson, The Critical Nexus: Tone-System, Mode, and Notation in Early Medieval Music
• Julie E. Cumming. Renaissance Improvisation and Musicology
• Ruth I. DeFord, Tactus, Mensuration, and Rhythm in Renaissance Music
• https://mtosmt.org/issues/mto.98.4.3/mto.98.4.3.mengozzi.html
• https://mtosmt.org/issues/mto.23.29.4/mto.23.29.4.ovenden.html
• https://www.mtosmt.org/issues/mto.06.12.3/mto.06.12.3.pack.html
• https://music-encoding.org/community/projects-users.html

Baroque music

• Bach’s Chorales
• Bach’s Fugues
• https://partimenti.org/partimenti/about_parti/index.html
• https://www.amazon.com/Continuo-Playing-According-Handel-Exercises/dp/0193184338
• Job Ijzerman. Harmony, Counterpoint, Partimento
  • https://www.mtosmt.org/issues/mto.19.25.4/mto.19.25.4.nicolas.html
• Derek Remeš. Compendium of Voice-Leading Patterns from the 17th and 18th Centuries to Play, Sing, and Transpose at the Keyboard
• Daniel Heartz. Music in European Capitals
• L. Poundie Burstein. Journeys Through Galant Expositions
• 🎥 Michael Koch. En blanc et noir: Baroque-style Piano Improvisations
• Four Score and More
• Dariusz Terefenko. The Passacaglia – A Primer for Teaching Baroque Improvisation
• 🎥 Josep Castanyer Alonso. “Angry Birds” but it’s a three voice fugal invention - visualizes of the structure

Partimento

• John J. Mortensen. The Pianist’s Guide to Historic Improvisation
• John J. Mortensen. Improvising Fugue
• papers by Gilad Rabinovitch
• https://www.youtube.com/user/nikhilhogan85
• Robert Gjerdingen. Music in the Galant Style
  • The podcast
  • Wikipedia on Galant Schemata
  • Partimento and Continuo Playing in Theory and in Practice
  • Robert Gjerdingen. Child Composers in the Old Conservatories: How Orphans Became Elite Musicians
  • https://mtosmt.org/issues/mto.15.21.2/mto.15.21.2.gjerdingen_bourne.html
  • https://mtosmt.org/issues/mto.24.30.1/mto.24.30.1.rabinovitch_carter-enyi.html

Counterpoint

Counterpoint can be of 16th century (which is Renaissance) or 18th century (which is Baroque). Of course, there’s modern counterpoint as well.

• Beth Denisch. Contemporary Counterpoint: Theory & Application
• Евдокимова Ю. К., Дубравская Т. Н., Протопопов В. В. История полифонии. В 6 вып. М., 1983-1996
• Т. Н. Дубравская. Полифония
• Schoenberg on counterpoint
• Hindemith on counterpoint
• Alan Belkin. Applied Counterpoint
• Скребков. Полифонический анализ - про ХТК
• Kurt-Jürgen Sachs, Carl Dahlhaus. “Counterpoint” - an article in New Grove Music Dictionary
• https://doc.verovio.humdrum.org/filter/dissonant/
• https://mtosmt.org/issues/mto.23.29.4/mto.23.29.4.daly.html
• https://mtosmt.org/issues/mto.20.26.4/mto.20.26.4.desmond.html
• https://mtosmt.org/issues/mto.13.19.3/mto.13.19.3.dineen.html
• https://mtosmt.org/issues/mto.12.18.4/mto.12.18.4.chenette.html