The Real Relationship between Kirnberger's and Rameau's "Concept of the Fundamental Bass"

Grant, Cecil Powell; Kirnberger,; Rameau, Jean-Philippe

doi:10.2307/843493

Cited by 6 publications

(3 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The remaining works in this collection are full of modulations, which could be -in modern terms -classed as diatonic and chromatic, but these examples of enharmonic changes do not appear anywhere else, and hence this could have been the reason for the composer's additional emphasis in the preface. 4…”

Section: Example No 1: J-p Rameau: L'enharmonique From Nouvelles Smentioning

confidence: 99%

A hypocrite called Rameau?: Thoughts on the similarities and differences in the treatment of enharmonic in Rameau's theories on harmony vs. his practice in his harpsichord composition

Komatović¹

2019

Zb Akad umetnosti

View full text Add to dashboard Cite

The name of Jean-Philippe Rameau (1683-1764) inevitably appears in the historical considerations of musical theorists. Rameau is considered the father of modern harmony, as well as one of the pioneers of the modern understanding of tonality. At the same time, he was almost certainly the most prominent figure in French music of the first half of the 18 th century. Along with the Couperin family, as a remarkably gifted composer for keyboard instruments, he is seen as the progenitor of the long tradition of French keyboard music, which can be traced all the way to our own time. Such an interesting and multi-talented figure provides a very welcome opportunity for musicologists to assess the relationship between the theoretical and the creative; the empirical and the evanescent; and perhaps even the conscious and the subconscious. Rameau the theorist obviously underwent a long evolution; however, this path was not always progressive and straightforward, but seems to have meandered and vacillated as he abandoned some of his ideas as the result of personal insecurity and (possibly) the harsh criticisms that mostly came from Jean-Jacques Rousseau (1712-1778). This led to obvious inconsistencies between the practice of Rameau the composer and the ideas of Rameau the theorist. This paper offers a chronological comparison between Rameau's postulates about tonality theories and its subsystems (diatonic, chromatic and-above allenharmony) and his contemporaneous compositions for harpsichord, and will attempt to infer if and how much the composer adhered to his own postulates.

show abstract

Section: Example No 1: J-p Rameau: L'enharmonique From Nouvelles Smentioning

confidence: 99%

A hypocrite called Rameau?: Thoughts on the similarities and differences in the treatment of enharmonic in Rameau's theories on harmony vs. his practice in his harpsichord composition

Komatović¹

2019

Zb Akad umetnosti

View full text Add to dashboard Cite

show abstract

“…Seu pensamento teórico, como uma espécie de preanuncio da era clássica, é considerado uma síntese que reúne e reavalia a antiga tradição contrapontística, nesse momento já bastante delimitada pelo trabalho de Fux, a arte do baixo contínuo de viés bachiano e as modernas ideias do baixo fundamental de Rameau (cf. GRANT, 1977;KIRNBERGER, 1979, p. 163-165;LESTER, 2006, p. 773;WASON, 2006, p. 57). Kirnberger é sempre lembrado como aluno de J. S. Bach e deixou vários registros escritos que se tornaram referências significativas para o entendimento atual do pensamento técnico musical da época.…”

Section: Issn: 1808-3129unclassified

O conceito de tonalidade segundo François-Joseph Fétis: tradução comentada de um artigo de divulgação de Robert Wangermée

Freitas¹,

Librelotto²

2016

DAPesquisa

View full text Add to dashboard Cite

“…5 Marpurg's German contemporaries tended to equate his system with Rameau's, which they studied, at best, in Marpurg's (1757) translation of d'Alembert's Elémens de musique (1752). (Thus, for instance, Johann Philipp Kirnberger aims rhetorical fusillades at das Rameau'sche System while himself defending a theory that is deeply indebted to Rameau; see Grant 1977.) Marpurg himself, though, had a more developed sense of the relationship of his ideas to Rameau's. In the Kritische Briefe, where he claims explicitly to present Rameau's ideas, the discussion stays extremely close to Rameau-to the Traité in particular; Marpurg even follows that treatise in presenting the übermäßigen Secundenaccord {accord de seconde superfiue) as the diminished seventh chord's root position, a doctrine that Rameau abandoned, as Marpurg correctly notes, in the relatively obscure "Lettre de M. à M. sur la musique" printed in the September 1731 installment of the Mercure de France (Jacobi 1967-72, 6;57-63).…”

Section: Introduction: the Traité De L'harmonie (1722)mentioning

confidence: 96%

Rameau’s Changing Views on Supposition and Suspension

Martin¹

2012

Journal of Music Theory

View full text Add to dashboard Cite

The precise sense of Jean Philippe Rameau's conception of supposition is among the more vexing questions that his theorizing poses. Supposition has been interpreted, on the one hand, as an account of ninth and eleventh chords and, on the other, as a means of explaining melodic suspensions. Understanding Rameau's doctrine means, in part, retracing the many refinements, revisions, and reversals that it underwent over the course of its author's career. This article accordingly reconstructs the development of supposition from the Traité de l'harmonie (1722) to the Code de musique pratique (1760), with particular attention to the extensive discussion of the topic in the "Art de la hasse fondamentale" (c. 1737-43). To a considerable degree, Rameau's conception of supposition was worked out in dialogue with his critics. Retracing that dialogue helps to clarify a number of points: First, Rameau revised his account of supposition continually. Second, the impetus for these revisions was, in many cases, the intervention of a prominent critic. Third, these critics did not, as has been claimed, misunderstand Rameau's account of supposition; rather, they disputed it (the second musicien) or extended it (Charles-Henri de Blainville and Jean-Jacques Rousseau). Fourth, the eventual form that Rameau's doctrine took was significantly influenced by these criticisms; indeed. Rameau tended to appropriate those aspects of his interlocutors' arguments that he ended up finding germane. And fifth, it emerges from this inquiry that supposition is not solely a means of accounting for melodic suspensions; it is also an attempt to explain a number of idiomatic sonorities that are endemic to French baroque music, and to the grand motet in particular.In general, this article aims to provide a more detailed and more nuanced account of supposition than has thus far been available by attending not only to Rameau's own writings but also to the writings of his early critics and to the musical repertories that were these writers' frame of reference.

show abstract

The Real Relationship between Kirnberger's and Rameau's "Concept of the Fundamental Bass"

Cited by 6 publications

References 1 publication

A hypocrite called Rameau?: Thoughts on the similarities and differences in the treatment of enharmonic in Rameau's theories on harmony vs. his practice in his harpsichord composition

A hypocrite called Rameau?: Thoughts on the similarities and differences in the treatment of enharmonic in Rameau's theories on harmony vs. his practice in his harpsichord composition

O conceito de tonalidade segundo François-Joseph Fétis: tradução comentada de um artigo de divulgação de Robert Wangermée

Rameau’s Changing Views on Supposition and Suspension

Contact Info

Product

Resources

About