Learned Style and Learned Styles

Abstract

Eighteenth-century writers on music recognized a spectrum of learned styles. These included not only the imitative counterpoint characteristic of the fugue and the species counterpoint associated witha cappellapolyphony, but also a broad range of other styles, such as strict style, church style, orstile antico, transmitted from specialist to specialist over many decades and even centuries. The topic of the learned style, however, was a special formation or intensification of texture that occurred within the norms of late eighteenth-century phrasing, harmony, and texture. The tension between learned styles (each grounded in certain genre traditions) and learned style (the versatile and itinerant topic) informs not only the various manifestations of the learned style, which can be used for various formal purposes, but also its signification, which springs from the concerns of order and tradition that accompanied the transmission of learned styles from generation to generation.

De la emoción al sentido: aplicación docente de la teoría de tópicos en musicología

“…Se ha realizado una clasificación atendiendo a las siguientes categorías: 1. Tópicos de estilos: galante, antico o learned, sensibilidad (Empfindsamkeit), Sturm und Drang, tempesta, ombra (Mirka, 2014a;Chapin, 2014;McClelland, 2012McClelland, y 2014.…”

Intertextuality and Stylization in Villa-Lobos's Bachianas Brasileiras No 1

“…This movement ends with the main melody played by a cello solo in pianissimo. The Fugue (Conversa), composed in the manner of Satiro Bilhar, an old carioca bohemian singer and Villa-Lobos's friend, describes a type of conversation among four players, where its instruments dispute thematic primacy in successive questions and answers, in a dynamic crescendo 9 .…”

“…8 In fact, the movement is titled Preludio (Modinha) and makes the pair with the subsequent Fugue (Conversa). 9 Original text: Os primeiros compassos de Bachianas Brasileiras N o 1 criam, simultaneamente, o ambiente típico brasileiro e a atmosfera harmônica clássica. No sétimo compasso aparece uma melodia grave e larga, espiritualizando os processos de Bach, sem perder o ritmo inicial.…”

“…Therefore, Villa-Lobos devised a type of amalgamation between eighteenth-and nineteenth-century topics and newly devised topics that suits to his own compositional needs. In fact, Villa-Lobos alludes to topics pertaining to learned style of eighteenth-century music, in the narrow and broad sense defined by Chapin (2014). In its narrow sense, learned style refers to techniques of imitative counterpoint and, in particular, the fugue.…”

Obras a cappella de Pe. José Mauricio Nunes Garcia: análise das estruturas discursivas nos motetes de Semana Santa

“…O termo se refere principalmente ao distanciamento do contraponto de seu território naturala igrejatornando-se mais a manifestação musical de um ethos de erudição e equilíbrio que se opõe à sensibilidade e sentimentalismo em formas maiores de grandes contrastes. KeithChapin (2014) discorre sobre as várias origens, termos e usos do estilo aprendido em suas referências ao longo do século XVIII. A autora evidencia o distanciamento das técnicas renascentistas em detrimento de uma adaptação ao pensamento musical do século XVIII preservando apenas alguns elementos que disponíves vigente na dispositio onde entram em jogo as estratégias e a organização do discurso musical visando a persuasão do ouvinte.Outro fator determinante é observarmos o local para os quais a composição desses motetes foi destinada.…”