Summary
This final chapter on string quartet theory deals with the analytical conditions on global compositions which are powerful enough to comprehend the structural richness of central European music in the epoch of Boccherini and Haydn. These structures are — essentially— counterpoint and harmony. As a germ for a systematic theory of instrumentation we propose an estimation of maximal necessary chart dimension for Fuxian counterpoint and traditional harmony (including cadence and modulation).
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Mazzola, G. (2017). The Case of Counterpoint and Harmony. In: The Topos of Music II: Performance. Computational Music Science. Springer, Cham. https://doi.org/10.1007/978-3-319-64444-8_24
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DOI: https://doi.org/10.1007/978-3-319-64444-8_24
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Publisher Name: Springer, Cham
Print ISBN: 978-3-319-64443-1
Online ISBN: 978-3-319-64444-8
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