The art of the pure sentence in music

Title page of "The Art of Pure Composition in Music"

The art of the pure movement in music is a two-part music - theoretical work by Johann Philipp Kirnberger (1721–1783), which was first published in 1771. Kirnberger dedicated it to the “most noble princess” Anna Amalie of Prussia , whose court musician he was.

meaning

The art of pure sentence, derived from certain principles and explained with clear examples, is a general treatise on music theory. In view of the current developments in the late 18th century, the work, which was rather conservative in view of the current developments, was not without controversy among contemporaries, although it contains aspects of the theory of composition and melody that are still valid for WA Mozart , who knew the work.

It was developed in close cooperation with Kirnberger's student Johann Abraham Peter Schulz and in exchange with CPE Bach , FW Marpurg , JN Forkel and JF Agricola, among others . The variety of sheet music examples is impressive, including some pieces by JS Bach , which appeared as the first edition in the "Art of Pure Sentence" (four canon resolutions in the score from the " Musical Offering " and the " Christe eleison " from the Mass in A major ) .

construction

Kirnberger begins his textbook with the theory of harmony , on which the second part with the theory of melody and counterpoint builds.

First part

Of the scale and the temperature of the same
From the intervals
From the accords
Note on the nature and use of the accords and some associated intervals
On the free treatment of the dissonant accords in the easier writing
About the harmonic period and the cadenzas
From the modulation
From the modulation into distant keys and from sudden shifts
From the harmonic and inharmonic derivation of the melody
From the simple contrapunct in two or more voices
From the decorated or colorful simple contrapunct
Encore
Errata

Table of diatonic and chromatic intervals for each root

Second part

About the different types of harmonic accompaniment to a given melody
- with a view to their correctness
- with intention of the expression
From the scale, the resulting notes and keys
From the melodic progression and the flowing song
About the movement, the beat and the rhythm
From the double contrapunct
Decision of the double contrapunct
From the temperature
About the temperature

pads

The first part appeared in Berlin in 1771, by Voss and, with a new title page, Berlin and Königsberg in 1774, by Decker & Hartung
- The second edition Berlin and Königsberg 1776 includes VI + 256 pp.
The second part, with sections 1, 2, 3, was published in Berlin and Königsberg in 1776, 1777, 1779 by Decker & Hartung, it comprises IV + 154 + 234 + 188 pp.
Reprint of the 1st part Berlin undated by Rottmann
Reprint of both parts of Vienna 1793
Facsimile of both parts (Berlin and Königsberg 1776–79), Hildesheim 1968, 1988 and 2010, Olms
Facsimile of the Berlin 1771 edition (contains only Part 1), Kassel 2004, Bärenreiter, ISBN 3-7618-1725-8

reception

Johann Abraham Peter Schulz , The true principles for the use of harmony , in which it is clearly shown how all possible chords can be derived and explained from the three chords and the essential seventh chord, and their dissonant suspensions - as an addition to the art of the pure movement in the music of Johann Philipp Kirnberger
- Berlin and Königsberg 1773, Decker and Hartung, 115 [i. e. 113] s.
- Vienna 1793, Graben, 30 + 51s.

Internet

Wikisource: Writings by Johann Philipp Kirnberger with pdf directory - sources and full texts