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- As an umbrella term, “the learned style” can be defined narrowly or broadly. In its narrow definition, it draws on prestigious techniques of imitative and invertible counterpoint, especially fugue and canon.
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Musical “learning styles” and “learning strategies” in the instrumental lesson: Some emergent findings from a pilot study. Lucy Green. Institute of Education, University of London, UK. Abstract. This article considers the concepts of “learning style” and “learning strategy”. The former connotes
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 with a cappella polyphony, but also a broad range of other styles, such as strict style, church style, or stile antico, transmitted from specialist to ...
- Keith Chapin
- Publication
- 2014
- Book Section
Oct 25, 2018 · Approaching Musical Classicism—Understanding Styles and Style Change in Eighteenth-Century Instrumental Music. Historical/stylistic periods in music are both useful and perplexing concepts; they simultaneously clarify and hinder one's perception of a given period and a given work.
- Opening Gambits Such as The Meyer
- Closing Gestures Such as The Prinner
- Other
The Meyer is an example of an opening schema. It is four stages long: the first and last are tonic chords, and the two in the middle are not-tonics. Here’s a summary of what the melody, harmony, and meter do during this schema: We can break this schema down into two parts, a first, opening one that moves from I to V: … and a closing part moving bac...
The Prinner is a typical response to an opening schema. It has four stages corresponding to four bass notes: fa – mi/me – re – do (^4–^3–^2–^1)(4^–3^–2^–1^). The Prinner’s melody typically accompanies the bass in parallel tenths: la/le – sol – fa – mi/me (^6–^5–^4–^3)(6^–5^–4^–3^). Harmonically, the fa (^44^) and do (^11^) bass notes tend to take 5...
Apart from schemas for opening and closing, others are typically used for “continuation” and “cadences,” and we even have one common “post-cadential” type. The Galant Schemas – Summarychapter provides examples of the main types, along with information about further variants and details. Additionally, while abstract layouts like the tables above are...
Nov 6, 2014 · 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 with a cappella polyphony, but also a broad range of other styles, such as strict style, church style, or stile antico, transmitted from specialist to ...
Oct 11, 2012 · Implicit learning is a core process for the acquisition of a complex, rule-based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants ...
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