On 10/27/2015 09:21 AM, Nils Gey wrote:
Gradus Ad Parnassum is a really bad method, musically as well as
pedagogical, with little connection to the actual counterpoint methods
of the 16th century (or later).
It leads to music that you cannot find anywhere in the real music world.
So what? I'm not judging the efficacy of the tool at all.
I doubt any of the composers you mentioned actually used that. If you
think so otherwise it needs more than claiming that they did. Show
falsifiable evidence.
Just reading the preface of the translation by Mann
"Haydn took infinite pains to assimilate the theory of Fux. [...]
laboriously writing out the exercises".
"Mozart studied Fux's work under the influence of his father" -- copy
with father's notes still exists in Salzburg
"Beethoven himself subsequently wrote out an "Introduction to Fux's
Study of Counterpoint".
Brahms' copy with notes still exists ...
//
Nils
On 10/27/2015 01:15 PM, David Santamauro wrote:
On 10/27/2015 06:23 AM, Ralf Mardorf wrote:
On 27.10.2015, at 06:16, Luigino Bracci <lbracci@xxxxxxxxx> wrote:
Resume: If you want to play hobby music in the style of other artists
some software tools make it easy to do so, but you never will find
your individual style. If you want to make art, you have to find your
own sound, this is time consuming and comes with a long learning
curve, you can't do it as easy as playing hobby music.
Simply amazing that the likes of Haydn, Mozart, Beethoven, Berlioz,
Chopin, Rosini, Paganini, Liszt, Brahms and numerous others (including
myself) spanning 2 centuries used the same counterpoint "tool"[1] to
learn and yet somehow managed to develop their own individual style. Of
course, we look back on history and study the influence such a treatise
had on their style but I don't think you will find anyone claiming each
wasn't individual.
A tool is a tool. It doesn't create, hamper or destroy artistry.
David
[1] Gradus Ad Parnassum, Johann Joseph Fux
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