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Towards a new quantitative technique to describe fuga subject deformation in the consort music of William Byrd

eamonnbell
January 26, 2014

Towards a new quantitative technique to describe fuga subject deformation in the consort music of William Byrd

eamonnbell

January 26, 2014
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  1. Towards a new quantitative technique to describe fuga subject deformation

    in the consort music of William Byrd Eamonn Bell [email protected] SMI Postgraduate Conference, CIT/CSM 25 January 2013
  2. e 3 I, b. 14 e 4 II, b. 15

    Calculation Example from Byrd, Fantasia a 3/C1, Second point
  3. e 3 I, b. 14 e 4 II, b. 15

    Calculation Example from Byrd, Fantasia a 3/C1, Second point
  4. e 3 I, b. 14 e 4 II, b. 15

    Calculation Example from Byrd, Fantasia a 3/C1, Second point D(e 3 ,e 4 ) := number of flexes + number of stretches = 4 (flexes) + 1 (stretch) = 5 = D(e 4 ,e 3 )
  5. from Byrd, Fantasia a 3/C1, Third point Graphical application –

    Entry diagrams This graph shows the deformation profile: [0, 0, 0, 2, 2, 3, 4, 1, 3, 0, 7, 6, 0]
  6. Select bibliography The Byrd Edition. Volume 17: Consort Music, Kenneth

    Elliott (ed.) (London: Stainer & Bell, 1971) Grimshaw, Julian, ‘Fuga in Early Byrd’ in Early Music 37/2 (May 2009): 251–265. ———, ‘Sixteenth-Century English Fuga: Sequential and Peak-Note Subjects’ in The Musical Times 148/1900 (Autumn 2007): 61–78. Milsom, John, ‘Absorbing Lassus’ in Early Music 33/1 (Feburary 2005): 99–114. Morley, Thomas, A Plaine and Easie Introduction to Practicall Musick (London: Peter Short, 1597) Neighbour, Oliver, The Consort and Keyboard Music of William Byrd (London: Faber and Faber, 1978) Rastall, Richard, ‘Tunes, Textures and Tonalities; Some Thoughts on Structure in En- glish Consort-Music’ in The Viol 7 (2006–7): 8–15. Taylor, Philip, ‘William Byrd at Duke’, Report on the International William Byrd Con- ference at Duke University, 17–19 November 2005 in Early Music, 34/2 (May 2006): 341–2.