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2002•Birkhäuser Basel eBooksRequires access

The Case of Counterpoint and Harmony

Guerino B. Mazzola

Open publisher page 4 citations

Abstract

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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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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Available abstract

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).

Key concepts: Counterpoint, Harmony (color), Cadence, Mathematics, Epistemology, Aesthetics, Philosophy, Art

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