Classical Polyphony / / P. Samuel Rubio.

• Superior document: Title is part of eBook package: De Gruyter University of Toronto Press eBook-Package Archive 1933-1999
• VerfasserIn: Rubio, P. Samuel,
• MitwirkendeR: Rive, Thomas,
• TeilnehmendeR: Rive, Thomas.
• Place / Publishing House: Toronto : : University of Toronto Press, , [2019]; ©1972
• Year of Publication: 2019
• Language: English
• Series: Heritage
• Physical Description: 1 online resource (212 p.)
• Other title: Frontmatter --; Contents --; Plates --; Author's Foreword --; Translator's Foreword and Acknowledgements --; Publisher's Note --; Part I. Paleography --; 1. Various Conventions and Signs used in Writing --; 2. The Notation of Polyphony --; 3. Note-Values in Relation to the Bar --; 4. The Number of Notes in Each Bar and in Each of its Parts --; 5. The Proportions --; 6. Modality --; 7. The Semitonia --; 8. The Semitonia in Cadences --; 9. Use of the Semitonia apart from Cadences --; 10. Chromatic Progression --; 11. The Underlaying of Text --; Part II. Musical Forms of Classical Polyphony --; 12. The General Theory of Musical Forms --; 13. The Themes --; 14. Organization of the Complete Polyphonic Fabric --; 15. The Set Musical Forms of Polyphony --; Appendix: Observations Concerning the Interpretation of Polyphony --; Notes --; Bibliography --; I. Index of Technical Terms --; II. Index of Music References --; III. Index of Names
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781487579395; 9783110490947
• DOI: 10.3138/9781487579395
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: P. Samuel Rubio.

The name of P. Samuel Rubio is known to students of Renaissance polyphony for his scholarly articles in learned periodicals, his editorship of different collections of sacred polyphony, and through his edition of the motets of Victory -- Tomás Luis de Victoria, Motetes, Vols. 1-4 (union Musical Española, Madrid -- 1964). Text books -- in English -- on the subject of sixteenth-century counterpoint are numerous and excellent; but none discusses the classical polyphonic style with quite the understanding affection that Father Rubio brings to this task. His treatment of notation, time-signatures, the modes, chromatic alteration, is supported by opposite "ation from sixteenth-century authorities and his discussion of form and texture are based on a knowledge derived from wide experience in performance as well as close analytical study.