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001 ocm00891689;

005 20141212120344.0;

008 740521_1962_______ ____ __eng u;

010 a| 62008280;

035 a| (Sirsi) o00891689;

035 a| (OCoLC)891689;

040 c| KSUd| EREd| m.c.d| UtOrBLW;

049 a| EREM;

050 00 a| ML430.R563b| H5;

100 1 a| Riemann, Hugo,d| 1849-1919.=| ^A24123;

245 10 a| History of music theory, books I and II :b| polyphonic theory to the sixteenth century /c| by Hugo Riemann ; translated, with a preface, commentary, and notes by Raymond H. Haggh.;

246 3 a| Polyphonic theory to the sixteenth century;

260 a| Lincoln :b| University of Nebraska Press,c| 1962.;

300 a| xx, 431 pages :b| music ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Bibliography: pages [399]-420.;

505 00 g| Book I:t| Organum, discant, fauxbourdon.t| The ecclesiastical modal system --t| The theory of organum in the 9th and 10th centuries --t| Odo of Cluny, Berno of Reichenau, Hermannus Contractus --t| Organum in the 10th and 11th centuries --t| The discant during the 12th century --t| The transformation of the theory of consonance and dissonance during the 13th century --t| Gymel and fauxbourdon --g| Book II.t| Mensural theory and systematic counterpoint.t| Mensural theory to the beginning of the 14th century --t| Composition in three and more parts --t| The restitution of Even Meters, Marchettus of Padua, Johannes de Muris --t| Counterpoint during the 14th and 15th centuries --t| The revision of mathematical acoustics, the consolidation of contrapuntal theory to Zarlino --t| Musical ficta in the notation of the 14th-16th centuries.;

520 a| One of the great pioneers of musicology, Hugo Riemann (1849-1919) left an impressive body of work in many areas of musical scholarship--historical studies, lexicons, editions of musical works, and writings on music theory and composition. His monumental History of Music Theory (Geschichte der Musiktheorie) continues to lead an active life in the bibliographies and footnotes of the contemporary literature of music history, and is a basic reference for students of the Medieval and Renaissance periods. It amply demonstrated in its first two books (which are a history of polyphonic music to the sixteenth century) Riemann's mastery of the literature of the music theory of these periods. In making a complete translation of Books I and II, this book has undertaken a comprehensive revision, utilizing new and definitive editions of medieval treatises which were unavailable to Riemann. A particular value of this work lies in its extensive quotations from Medieval and Renaissance sources, left untranslated in the original, and here rendered into English. The preface examines Riemann's conception of the development of polyphonic theory, putting his position in clear historical perspective, commentaries for each chapter detail the subsequent advances in scholarly understanding of the several problems, and bring the material into correspondence with the findings of contemporary scholarship. In addition, a selective annotated bibliography lists items that have made contributions of importance to this subject since the publication of Riemann's work. The literature devoted to investigations of the history of Medieval and Renaissance music and music theory reveals a tremendous growth of knowledge since Riemann's time, but it also testifies to the continuing validity of his History of Music Theory which is, even today, an indispensable work. In this revised edition, translated into English and including the translator's commentary and careful bibliography, Riemann's History of Music Theory, a work unique in the literature of musicology, can continue its useful service in musical scholarship.;

545 a| Raymond H. Haagh is Associate Professor of Theory, Department of Music, at the University of Nebraska. He holds degrees from Northwestern University (B. Mus., 1949; M. Mus., 1950) and Indiana University (Ph.D., 1961), and held a faculty fellowship from the fund for the advancement of education, studying at Harvard University (1955-1956). A native of Illinois, he served in the armed forces from 1942 to 1945. His original music compositions have been performed by the Oklahoma City Symphony, and at a number of colleges and universities. Dr. Haagh is editor of The Nebraska Music Teacher, a quarterly published by the Nebraska Music Teachers Association.;

650 0 a| Composition (Music)x| History.=| ^A17648;

650 0 a| Music theoryx| History.=| ^A1018539;

650 0 a| Counterpointx| History.=| ^A991137;

650 0 a| Musicx| Acoustics and physics.=| ^A16688;

919 a| BOOK;

596 a| 3;

998 a| 58313;

999 a| ML430.R563 H5w| LCc| 1i| 310372000640696d| 12/11/2019e| 11/15/2019f| 5/12/2025g| 4l| MCSm| JMUSICn| 8r| Ys| Yt| MCSSBKu| 3/2/1986x| BOOKz| MCIRCo| .STAFF. .note. Temporary transfer #1 to HSL Temporary transfer #2 to HSLo| .STAFF. enhanced 10/22/24 -jjabo| .STAFF. Copy Statement : c.1;

History of music theory, books I and II : polyphonic theory to the sixteenth century / by Hugo Riemann ; translated, with a preface, commentary, and notes by Raymond H. Haggh.

Author/creator	Riemann, Hugo
Format	Book
Publication Info	Lincoln : University of Nebraska Press, 1962.
Description	xx, 431 pages : music ; 24 cm
Subjects	Composition (Music)--History. Music theory--History. Counterpoint--History. Music--Acoustics and physics.

Variant title	Polyphonic theory to the sixteenth century
Contents	Book I: Organum, discant, fauxbourdon. The ecclesiastical modal system -- The theory of organum in the 9th and 10th centuries -- Odo of Cluny, Berno of Reichenau, Hermannus Contractus -- Organum in the 10th and 11th centuries -- The discant during the 12th century -- The transformation of the theory of consonance and dissonance during the 13th century -- Gymel and fauxbourdon -- Book II. Mensural theory and systematic counterpoint. Mensural theory to the beginning of the 14th century -- Composition in three and more parts -- The restitution of Even Meters, Marchettus of Padua, Johannes de Muris -- Counterpoint during the 14th and 15th centuries -- The revision of mathematical acoustics, the consolidation of contrapuntal theory to Zarlino -- Musical ficta in the notation of the 14th-16th centuries.
Abstract	One of the great pioneers of musicology, Hugo Riemann (1849-1919) left an impressive body of work in many areas of musical scholarship--historical studies, lexicons, editions of musical works, and writings on music theory and composition. His monumental History of Music Theory (Geschichte der Musiktheorie) continues to lead an active life in the bibliographies and footnotes of the contemporary literature of music history, and is a basic reference for students of the Medieval and Renaissance periods. It amply demonstrated in its first two books (which are a history of polyphonic music to the sixteenth century) Riemann's mastery of the literature of the music theory of these periods. In making a complete translation of Books I and II, this book has undertaken a comprehensive revision, utilizing new and definitive editions of medieval treatises which were unavailable to Riemann. A particular value of this work lies in its extensive quotations from Medieval and Renaissance sources, left untranslated in the original, and here rendered into English. The preface examines Riemann's conception of the development of polyphonic theory, putting his position in clear historical perspective, commentaries for each chapter detail the subsequent advances in scholarly understanding of the several problems, and bring the material into correspondence with the findings of contemporary scholarship. In addition, a selective annotated bibliography lists items that have made contributions of importance to this subject since the publication of Riemann's work. The literature devoted to investigations of the history of Medieval and Renaissance music and music theory reveals a tremendous growth of knowledge since Riemann's time, but it also testifies to the continuing validity of his History of Music Theory which is, even today, an indispensable work. In this revised edition, translated into English and including the translator's commentary and careful bibliography, Riemann's History of Music Theory, a work unique in the literature of musicology, can continue its useful service in musical scholarship.
Bibliography note	Bibliography: pages [399]-420.
Biographical note	Raymond H. Haagh is Associate Professor of Theory, Department of Music, at the University of Nebraska. He holds degrees from Northwestern University (B. Mus., 1949; M. Mus., 1950) and Indiana University (Ph.D., 1961), and held a faculty fellowship from the fund for the advancement of education, studying at Harvard University (1955-1956). A native of Illinois, he served in the armed forces from 1942 to 1945. His original music compositions have been performed by the Oklahoma City Symphony, and at a number of colleges and universities. Dr. Haagh is editor of The Nebraska Music Teacher, a quarterly published by the Nebraska Music Teachers Association.
LCCN	62008280

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History of music theory, books I and II : polyphonic theory to the sixteenth century / by Hugo Riemann ; translated, with a preface, commentary, and notes by Raymond H. Haggh.

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