Sonority, Succession, and Tonal Structure in Ars Nova Music

2021 ◽  
Vol 24 (1) ◽  
pp. 11-47
Author(s):  
Se Eun Jung ◽  
Moo Kyoung Song
Keyword(s):  
1943 ◽  
Vol 2 (4) ◽  
pp. 193-209 ◽  
Author(s):  
J. F. Carrington
Keyword(s):  

1673 ◽  
Vol 8 (92) ◽  
pp. 5197-5206
Keyword(s):  
Ars Nova ◽  

An accompt of two books. I. Tracts, written by R. Boyle Esquire, containing new experiments touching the relation betwixt flame and air, and about explosions: An hydrostatical discourse, occasioned by some objections of Dr. Henry More, &c; To which is annex’t an hysrostatical letter, about a way of weighing water in water; of the air's spring on bodies under water; and about the differing pressure of heavy solids and fluids. In which accompt is occasionally inserted the publisher's reply to Mr. George Sinclair's paper, called a vindication of the preface of his Ars Nova & Magna Gravitatis & Levitatis. II. Experienze intorno à diverse cose naturali, fatte da Francesco Redi. In the first of the Tracts, which contains the <italic>New Experiments</italic> about the <italic>Relation betwixt Flame</italic> and <italic>Air</italic>, the Noble Author, after he had mentioned some of the chief difficulties, both in <italic>making</italic> and <italic>judging</italic> of these Experiments, and occurred also to some thoughts, that might arise in the Reader, about his not ascribing in these Narratives so absolute and equal a necessity of the <italic>Air</italic> to the production and conservation of all <italic>Flames</italic>, as divers Men have concluded from his former Experiments; after this, <italic>Isay</italic>, he divides this Discourse into three parts.


2020 ◽  
Vol 26 (3) ◽  
Author(s):  
Sarah Marlowe

This study offers a comparative analysis of J. S. Bach’s Fugue in D minor, from the Well-Tempered Clavier Book I (WTC I). Detailed examination of multiple divergent readings of the same musical excerpts raises important questions about Schenkerian theory and its application to fugal textures. I suggest that analytical discrepancies arise primarily when voice-leading concerns are not completely disentangled from our deeply rooted views of formal design in fugue. In the end, an over-reliance on the details of outer form risks blocking access to the fugue’s inner form. I identify and resolve significant differences that emerge at the foreground in these readings, later considering how a combined view of formal design (outer form) and tonal structure (inner form) resolves ambiguities and enhances our understanding of the work as a whole.


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