A New Way of Making Fowre Parts in Counterpoint by Thomas Campion: and Rules how to Compose by Giovanni Coprario

Campion, Thomas

ISBN 10: 0754605159 / ISBN 13: 9780754605157

Published by Routledge, 2003

About this Item

Regarded as one of the most important English music treatises in the 17th century, this work reveals progressive ideas about the latent theory of inversions, the fundamental bass, cadences and tonality, and the major-minor octave scale. The text is annotated, and has an introduction and appendix. Editor(s): Wilson, Christopher R. Series Editor(s): Owens, Professor Jessie Ann. Series: Music Theory in Britain, 1500-1700: Critical Editions. Num Pages: 132 pages, Includes 4 b&w illustrations. BIC Classification: AVA; AVGC2. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 234 x 156. Weight in Grams: 339. . 2003. 1st Edition. hardcover. . . . . Books ship from the US and Ireland.

Seller Inventory # V9780754605157

Bibliographic Details

• Title: A New Way of Making Fowre Parts in Counterpoint by Thomas Campion: and Rules how to Compose by Giovanni Coprario
• Publisher: Routledge
• Publication Date: 2003
• Language: English
• ISBN 10: 0754605159
• ISBN 13: 9780754605157
• Binding: Hardcover
• Condition: New

About this title

Synopsis

Regarded as one of the most important English music treatises in the seventeenth century, Thomas Campion's A New Way of Making Fowre Parts in Counterpoint reveals progressive ideas about the latent theory of inversions, the fundamental bass, cadences and tonality, and the major-minor octave scale. In this first accurate modern edition of Campion's treatise, Christopher Wilson provides a fully annotated text and a substantial introduction which highlights the historical significance of 'A New Way...' both in its close relationship with Coprario's 'Rules how to Compose' (which is included as an appendix together with commentary and notes) and its unusual debt to German rather than Italian music theory. Wilson presents a persuasive case for viewing the treatise as essentially a very early modern harmony tutor.and its unusual debt to German rather than Italian music theory.

About the Author

Christopher R. Wilson