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cherubini_counterpoint_and_fugue:title [2019/01/11 22:10] – brian | cherubini_counterpoint_and_fugue:title [2019/04/10 19:22] (current) – brian | ||
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This digital edition is far more than a digitally typeset version of the original. While a PDF of the 1854 book is available online under the public domain, I wanted a // | This digital edition is far more than a digitally typeset version of the original. While a PDF of the 1854 book is available online under the public domain, I wanted a // | ||
- | 1. Updated | + | 1. Updated formatting and vocabulary |
- | + | ||
- | **Structure**: | + | |
**Formatting**: | **Formatting**: | ||
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Since the translator was English, I have also taken the liberty to update some of the musical vocabulary to make the text more readable by American audiences. For instance, if you see a reference to a crotchet ((quarter note)) or semibreve ((whole note)), I have added footnotes (as demonstrated here) that provide the American musical equivalent. | Since the translator was English, I have also taken the liberty to update some of the musical vocabulary to make the text more readable by American audiences. For instance, if you see a reference to a crotchet ((quarter note)) or semibreve ((whole note)), I have added footnotes (as demonstrated here) that provide the American musical equivalent. | ||
- | 2. Updated musical examples, complete with media players: | + | 2. Updated musical examples, complete with media players |
**Updated musical examples**: Here's the fun part. There are 580 musical examples in this book, many of which would thoroughly confound 21st Century music students. The simple reason for this is that nearly all of them utilize an alto clef, a tenor clef, or both. Rarely have I encountered a student who could comfortably sight-read a four-part musical example containing four different clefs: //treble//, //alto//, //tenor//, and //bass//. For better or worse (probably worse), this is a skill that has been lost over the centuries. | **Updated musical examples**: Here's the fun part. There are 580 musical examples in this book, many of which would thoroughly confound 21st Century music students. The simple reason for this is that nearly all of them utilize an alto clef, a tenor clef, or both. Rarely have I encountered a student who could comfortably sight-read a four-part musical example containing four different clefs: //treble//, //alto//, //tenor//, and //bass//. For better or worse (probably worse), this is a skill that has been lost over the centuries. | ||
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* Upload all images and audio to my web-server (for sharing with the world) | * Upload all images and audio to my web-server (for sharing with the world) | ||
- | Thanks to scripting, once I engraved each individual example, I could simply move on to the next. After I completed all the examples in a single chapter, then it was time to run my script to automate all the tedious aspects of turning the scores into audio and images, | + | Thanks to scripting, once I engraved each individual example, I could simply move on to the next. After I completed all the examples in a single chapter, then it was time to run my script to automate all the tedious aspects of turning the scores into audio and images. |
**Media players**: The main advantage of this book is the addition of media players for each musical example. Textbooks on music, even so-called " | **Media players**: The main advantage of this book is the addition of media players for each musical example. Textbooks on music, even so-called " |