CĂRȚI ÎN PORTUGHEZĂ ÎN LEGĂTURĂ CU «SEMIDIAPENTE»
Descoperă întrebuințarea
semidiapente în următoarea selecție bibliografică. Cărți în legătură cu
semidiapente și extrase din aceasta pentru a furniza contextul de întrebuințare al acestuia în literatura Portugheză.
1
Musica Ficta: Theories of Accidental Inflections in Vocal ...
35 'Si debbe però avertire, che alle volte si pone la Semidiapente ne i
Contrapunti in luogo della Diapente; similmente il Tritono in luogo della
Diatessaron, che fanno buoni effetti.' Ibid., pp. 169^ trans. G. A. Marco and C. V.
Palisca, p. 47.
2
A Compendium of Practical Music in Five Parts: Teaching, by ...
Tritone. i—Q-\Semidi(i. B— ) l~5JTrimt. Semidiapente. 123456 1234 ' ' Their use
in Figurate Deicant is very frequent, both in Syncopation and Note against Note,
as in Counterpoint. ' The Tritone paflès naturally into a 6th : The Semidiapente ...
Christopher Simpson,
1667
3
Vocabulario portuguez & latino ...
Etacordo menor, Semi- dtapazái.Nur.ts Trat ado das Explanaç. Semidiapente. (
Termo Musico.) He intervallo dissonante de cinco vozes, dcustonos,6í dous
femitonos mayores. Semdicptnte. ( Para evitar o Semidiapente ,que he Quinta
menor.
4
John Birchensha: Writings on Music
(Possibly Birchensha intended to write 'Semidiapente', meaning diminished fifth,
rather than 'Semidiapason'.) Butler explains the prefix 'semi-' thus: "Semidiapente
. Semi in this word (as in Semiditonus and Semidiapason) doth not signifie half ...
John Birchensha, Christopher Field, Benjamin Wardhaugh,
2010
5
The British Critic and Quarterly Theological Review
Dr. P-puseh has not made a separate class (like Simpson) in his Rales ; but the
use of the semidiapente in the resolution of the ^ (example 106, p. 168) clearly (
hews that the dominant harmony might then as nnui be taken unprepared.
6
Stephanus de Urbibus. Que Primus Thomas de Pinedo...
SEMIDIAPENTE eft duplex, major, feu intenfa, minor ftu remifla , Semidiapente
major ftu intenfa eft intervallum, quod conftat ex duobus tonis, altero minori ,
altero majori , & ex duobus ftmitoniis , altero minimo, altero majori , vel ex duobus
ton is ...
Stephanus of Byzantium,
1725
7
Dialogue on Ancient and Modern Music
The theorist considers the semidiapente as composed of two minor thirds
because it is not rationally possible to divide — always meaning by the arithmetic
discipline — any interval of the three first simple classes of proportions from the ...
8
The Style of Palestrina and the Dissonance
242): “Usaremo etiandio la Quarta sincopata, dopo la quale segua senz' alcun
mezo la Semidiapente, & dopo questa immediatamente succeda la Terza
maggiore; percioche la Semidiapente e posta in tal maniera, che fa buono effetto
—”.2 So ...
9
The British Critic: A New Review
Dr. Pepusch has not made a separate class (like Simpson) in his Rules ; but the
use of the semidiapente in the resolution of the * (example 106, p. 168) clearly (
hews that the dominant harmony inight then as ntiv be taken unprepared.
10
Encyclopaedia metropolitana
If the Music be of three parts, the accompaniment must be a third or a
semidiapente. If of four parts, the third and semidiapente or flat filth must be taken
with it. A Q-G-A A b 7 “ be b its Wilts b7 bah Our next duty, having explained the
use of the ...