The Theoretical-Practical Elements of Music, Parts III and IV

The Theoretical-Practical Elements of Music, Parts III and IV

Francesco Galeazzi
Deborah Burton
Gregory W. Harwood
Copyright Date: 2012
Pages: 432
https://www.jstor.org/stable/10.5406/j.ctt1xcpbv
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  • Book Info
    The Theoretical-Practical Elements of Music, Parts III and IV
    Book Description:

    A virtuoso violinist, conductor, composer, and a professor of mathematics and botany, Francesco Galeazzi (1758-1819) firmly believed that musical education should be clear, demonstrable, and practical. In 1791 and 1796, he published the two volumes of his Elementi teorico-practici di musica, a treatise that demonstrated both his thorough grounding in the work of earlier theorists and his own approach to musical study. The first volume gave precise instructions on the violin and how to play it; the second demonstrated his command of other instruments and genres and provided comprehensive introductions to music theory, music history, and music aesthetics. The treatise also addresses the nature of compositional process and eighteenth-century concerns about natural and acquired talent and creativity._x000B__x000B_This volume offers an unprecedented English translation of the second volume of Elementi teorico-practici di musica, with annotations and commentary. The translation is introduced with a study of Galeazzi's life and milieu, the genesis and sources for the Elementi, and its reception through the present day.

    eISBN: 978-0-252-09418-7
    Subjects: Music

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Preface
    (pp. ix-xii)
  4. Introduction
    (pp. 1-56)

    FRANCESCO GALEAZZI led an extraordinarily rich and diversified life as a violinist, composer, conductor, music theorist, mathematician, scientist, pedagogue, and political activist. He brought to theTheoretical-Practical Elements of Music(Elementi teorico-pratici di musica) an extensive background as a performer and observer of music in the Savoyard capital of Turin, an important center of violin performance and pedagogy; in Rome, with its curiously juxtaposed fascination with comic opera and the ageless sound of choral polyphony; and in Ascoli Piceno, his adopted home. References in theElementsdemonstrate that Galeazzi was quite familiar with contemporary instrumental music and opera by Italian...

  5. Theoretical-Practical Elements of Music

    • Most Esteemed Signor Count
      (pp. 57-60)

      I HAD THE COURAGE to risk the first volume of this, my work, in public without adorning it with the sublime name of a venerable benefactor for two reasons: one proceeding from the book itself, the other from me. Since the former dealt with subjects that were seldom disposed to controversies, I hoped that it should not encounter significant criticisms. The experience of almost six years has confirmed to me that I was not deceived. With regard to myself, I considered myself very deficient and remained hidden in my studies, which are also very different from each other. They unfortunately...

    • Preface
      (pp. 61-75)

      AT LONG LAST, the second volume of this work sees the light! Inasmuch as they are not instructive to the public, I will willingly pass over in silence the reasons that have caused its excessive delay. I can only provide assurance that the volume has certainly benefited, as I have thereby had all the opportunity to make it more complete, correct many defects, and better adapt it to the object for which it is principally destined. What this object is, what means I have undertaken to fulfill it, and what benefits may be expected from this second volume—this is...

    • Part III: Theory of the Principles of Ancient and Modern Music
      (pp. 76-139)

      MUSIC IS AS OLD AS MANKIND. Singing is so natural to him that not only does it exist everywhere that there is speech,²³ but man has always sung from the time he commenced to speak. We therefore must trace its origin to our first progenitor with the greatest probability (even if we disregard the knowledge instilled in him by God),24inasmuch as it is easy to think that birdsong and the different voices of the animals themselves, winged and quadruped, would have furnished him with the idea for it. It is necessary, however, to distinguish the origin of song, infused...

    • Part IV: On the Elements of Counterpoint Section 1: On Harmony
      (pp. 140-302)

      INASMUCH AS MUSIC is the science of the different relationships of pitches (Part I, §1) and such a relationship arises from the greater or lesser degree of highness or lowness of these pitches, it is evident that the relationship must be variable in the measure by which the pitches that form it move closer to or farther away from each other, and it only ceases whenever they unite at a single point, mixing together and forming nothing more than a single sensation, which is called a unison.

      2. Therefore, because a pitch can be moved more or less close to another...

    • Part IV: On the Elements of Counterpoint Section 2: On Melody
      (pp. 303-380)

      AFTER HAVING EXPLAINED at length in the preceding section everything that pertains to harmony, that which forms the scientific and demonstrable part of music, we must now discuss melody, or the agreeable succession of pitches. This is an art in which the principles are in the human heart and sentiment.272It is impossible, therefore, to reduce it to fixed and stable rules, all the more so since it must not be considered an imitative art like painting and sculpture, the models for which are in most perfect Nature.273Music does not enjoy such a benefit; it is only an art...

  6. Works Cited
    (pp. 381-398)
  7. Index
    (pp. 399-414)
  8. Back Matter
    (pp. 415-420)