Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
612-822-4611

  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
L'Arte Armonica or a Treatise on the Composition of Musick: Facsimile of the Edition J. Johnson 1760

L'Arte Armonica or a Treatise on the Composition of Musick: Facsimile of the Edition J. Johnson 1760

Burton, Deborah
Giorgio Antoniotto

Hardcover

Series: Musical Treatises, Book 4

Music Reference

ISBN10: 2503574637
ISBN13: 9782503574639
Publisher: Brepols Publishers
Published: Apr 11 2017
Pages: 185
Weight: 2.33
Height: 0.90 Width: 8.30 Depth: 10.50
Language: Italian
Although Giorgio Antoniotto may not be known to many scholars today, he was not anonymous in his own time. A noble Italian living in London when he published his treatise in English, his subscribers included Avison, Burney, Arne, Hawkins and his friend, a certain Dr. Johnson. This facsimile edition of the 1760 treatise brings the fascinating work to the public eye. In addition to filling a lacuna in the history of Italian music theory, Antoniotto's treatise shows surprising emphases on Rameau's fundamental bass, and on stacked thirds--beyond sevenths and ninths to thirteenths and even fifteenths. Further, the musical illustrations include several grids that are close relatives of the Tonnetz (associated with the late 19th-century theorists Oettingen and Riemann, and usually credited to Euler). In one such example, Antoniotto's grid shows horizontal and vertical arrangements of perfect fifths and perfect fourths, with one diagonal as a whole-tone scale. After an introduction that summarizes musical development from the Greek system on, the treatise is divided into three books: the first discusses the general and natural systems, and the natural (major) and artificial (minor) scales. The second derives progressions from movements of the fundamental bass; the third covers figured bass, inversions, fugues, imitations, canons, cadences, accents (including expressivity of text), vocal types, expressive markings, recitatives and the genres of instrumental and mixed ensembles, the sacred, theatrical, and chamber music. Corelli's Violin Sonata, opus 5/1 is used for demonstrations.

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