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Bach's Well-tempered Clavier (or the 48 Preludes and Fugues) stands at the core of baroque keyboard music and has been a model and inspiration for performers and composers ever since it was written. This invaluable guide to the 96 pieces explains Bach's various purposes in compiling the music, describes the rich traditions on which he drew, and provides commentaries for each prelude and fugue. In his text, David Ledbetter addresses the main focal points mentioned by Bach in his original 1722 title page. Drawing on Bach literature over the past three hundred years, he explores German traditions of composition types and Bach's novel expansion of them; explains Bach's instruments and innovations in keyboard technique in the general context of early eighteenth-century developments; reviews instructive and theoretical literature relating to keyboard temperaments from 1680 to 1750; and discusses Bach's pedagogical intent when composing the Well-tempered Clavier. Ledbetter's commentaries on individual preludes and fugues equip readers with the concepts necessary to make their own assessment and include information about the sources when details of notation, ornaments, and fingerings have a bearing on performance.
A new edition of Bach's Well-Tempered Clavier in Open Score, in both older C clefs and in modern treble and bass clefs.
A new edition of Bach's Well-Tempered Clavier in Open Score, in both older C clefs and in modern treble and bass clefs.
This volume covers a wide range of approaches to fundamental questions about music, such as: What is similarity in music? How do we recognize it? How can we program computers to recognize it? Topics include concepts and procedures, tools and applications, human melodic judgments, and online tools for melodic searching. The contributors draw on theoretical approaches and practical results from computer science and network models, folk-music archives and bibliographical collaborations, algorithmic composition, classical-music history, ethnomusicology and social psychology, and case law in claims of popular music plagiarism. ContributorsDavid Bainbridge, David Cope, Tim Crawford, Charles Cronin, Ewa Dahlig, Dominik Hörnel, John Howard, Costas S. Iliopoulos, Andreas Kornstädt, Rodger J. McNab, Nigel Nettheim, Donncha Ó Maidín, Rajeev Raman, Helmut Schaffrath, Eleanor Selfridge-Field, Lloyd A. Smith, Ian H. Witten, Masato Yako.C
This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry.
Soft bound music score for piano.