Read more
This volume explores the possibilities of cognate music theory, a concept introduced by the musicologist John Walter Hill to describe culturally and historically situated music theory.
List of contents
1. Musicology beyond historicism: Epistemological implications and scope of John Walter Hill's cognate music theory
Ignacio Prats-Arolas Part I: Framing concepts 2. Cognate music theory
John Walter Hill 3. Insiders and outsiders: Revisiting Indigenous musical thought
Bruno Nettl Part II: Syntax, form, and genre 4. Heinrich Christoph Koch's description of the
Andantino e cantabile in Joseph Haydn's Symphony No. 42 as a response to recent sonata theories
Gregory Hellenbrand 5. Artisanal knowledge as a cognate music theory: Reading a
partimento Robert Gjerdingen 6. Intersections of biography, analysis, and performance: Beethoven at Heiligenstadt in 1802
William Kinderman 7. A cognate theory of generic classification in the
Airs sérieux et à boire of Sébastien de Brossard
Kenneth Smith Part III: Rhetoric and emotions 8. Ripa's
Iconologia as a source for musical rhetoric of the seventeenth century
Barbara Russano Hanning 9. The language of emotions from Descartes to Metastasio
Álvaro Torrente and José María Domínguez Part IV: Timbre, color, and temperament 10. "Quegli strumenti, che erano più atti a far proporzionata accompagnatura al balletto a cavallo": Envisioning a cognate theory of instrumental timbre in early modern Florence
Kelley Harness 11. "Énergie des modes":Tuning and temperament in seventeenth-century France
Charlotte Mattax Moersch 12. "Il cembalo de' colori, e la musica degli occhi": Francesco Algarotti and a cognate concept of music in the age of the Enlightenment
Bella Brover-Lubovsky Part V: Historical sources and cultural hermeneutics 13. Insider and outsider views in early modern correspondence involving patrons and musicians
Dinko Fabris 14. Anthropology, music, and theater in a seventeenth-century year
Robert L. Kendrick 15. Song about song, music about life: Herder on music's transcendent moment
Philip V. Bohlman. Index
About the author
Ignacio Prats-Arolas is on the faculty of musicology at the Conservatorio Superior de Música "Joaquín Rodrigo" in Valencia, Spain and teaches courses on music at the Florida State University Valencia Study Center. He holds a PhD in musicology from the University of Illinois, Urbana-Champaign.
