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Cambridge Studies in Music Theory and Analysis
Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch ... Music Theory and Analysis, Series Number 7)
The writings of Sulzer and Koch represent a significant confluence of philosophical and musical thought from the German Enlightenment. Koch creatively adapted many of Sulzer's abstract philosophical ideas to concrete questions of musical pedagogy, showing how they could be usefully applied to the teaching and analysis of musical composition. This collaborative study and translation of the texts will be of interest to all historians of music, music theory, and historians of eighteenth-century German aesthetic thought.
- GenresMusic
224 pages, Hardcover
First published March 21, 1996
About the author
Heinrich Christoph Koch
10 books1 followerFrom Wikipedia:
Heinrich Christoph Koch
Heinrich Christoph Koch (10 October 1749 – 19 March 1816) was a German music theorist, musical lexicographer and composer. In his lifetime, his music dictionary was widely distributed in Germany and Denmark; today his theory of form and syntax is used to analyse music of the 18th and 19th centuries.
Life
Koch was born in Rudolstadt, in the federal state of Thüringen. In his youth, he was a violinist in the Rudolstadt court orchestra and from 1772 as a chamber musician. He was taught music by his father - a valet to Johann Friedrich von Schwarzburg-Rudolstadt, prince of the small state of Schwarzburg-Rudolstadt; later he was tutored in violin and composition by Christian Gotthelf Scheinpflug, the prince's band leader. Although his lowly circumstances precluded a university education, the prince - and his successors - encouraged his musical training and sent him to different German cities. He studied for periods in Weimar (with Carl Andreas Göpfert), Leipzig, Dresden, Berlin and Hamburg. After that, he spent the rest of his life in Rudolstadt. In 1792, he was appointed Kapellmeister (effectively director of music) by von Schwarzburg-Rudolstadt; this post was formerly held by his tutor, Scheinpflug. He returned to being a violinist after a year, then became active as a composer and writer on music. He composed various works to celebrate court occasions.[1][2]
Apart from the musical examples in his theoretical works, Koch's compositional works have been lost, including cantatas, a Singspiel, instrumental and church music. The inventory of the court orchestra in the Thuringian State Archives, Rudolstadt, contains seven symphonies by "Koch". Although these are not included in contemporary lists of works, Koch uses the exposition of the first movement of one of these symphonies without author specification as a sheet music example (from his book Versuch einer Anleitung zur Komposition [Attempt at a Guide to Composition], third and last part, p. 386), which could be taken as an indication of his authorship. However, he became best known for his published works on musical theory and his Musiklexikon [Music Dictionary] (1802), which was the most influential since that of Johann Gottfried Walther (1732) and prior to the encyclopedias of Gustav Schilling (1835–38) and Hermann Mendel & August Reissmann (1870–83); it summarised the body of knowledge of the Baroque period and early Classical period. Versuch einer Anleitung zur Komposition was the first book to deal with the systematic and detailed structure of harmony, melody and musical syntax, making it the most important forerunner of Hugo Riemann's alternative theories. His theoretical work continues to be the subject of modern analysis.[1][2] [3][4][5][6][7][8][9]
In 1818, he was elected a member of the Royal Swedish Academy of Music with the award of a diploma; the academy was, however, unaware of his death two years previously.[1]
Publications
Versuch einer Anleitung zur Komposition [Attempt at a Guide to Composition], 3 volumes. Rudolstadt & Leipzig 1782, 1787, 1793, Adam Friedrich Böhme. Reprint Olms, Hildesheim, 1969; Study edition in one volume, ed. by Jo Wilhelm Siebert. Siebert, Hanover, 2007. Digital new set and facsimile in: Music-theoretical sources 1750-1800, ed. by Ulrich Kaiser. Directmedia, Berlin, 2007, ISBN 978-3-89853-615-8.
Vol. 1, 1782, Von der Art und Weise wie Töne an und für sich betrachtet harmonisch verbunden werden und Vom Contrapuncte [On the way in which tones considered in and of themselves are harmoniously combined and on counterpoint]. University of Strasbourg
Vol. 2, 1787, Von der Art wie die Melodie in Rücksicht der mechanischen Regeln verbunden wird [On the manner in which melody is combined in respect of the mechanical rules]. University of Strasbourg
Vol. 3, 1793, Fortsetzung Von den mechanischen Regeln der Melodie: Von der Verbindung der melodischen Theile, oder von dem Baue der Perio
Heinrich Christoph Koch
Heinrich Christoph Koch (10 October 1749 – 19 March 1816) was a German music theorist, musical lexicographer and composer. In his lifetime, his music dictionary was widely distributed in Germany and Denmark; today his theory of form and syntax is used to analyse music of the 18th and 19th centuries.
Life
Koch was born in Rudolstadt, in the federal state of Thüringen. In his youth, he was a violinist in the Rudolstadt court orchestra and from 1772 as a chamber musician. He was taught music by his father - a valet to Johann Friedrich von Schwarzburg-Rudolstadt, prince of the small state of Schwarzburg-Rudolstadt; later he was tutored in violin and composition by Christian Gotthelf Scheinpflug, the prince's band leader. Although his lowly circumstances precluded a university education, the prince - and his successors - encouraged his musical training and sent him to different German cities. He studied for periods in Weimar (with Carl Andreas Göpfert), Leipzig, Dresden, Berlin and Hamburg. After that, he spent the rest of his life in Rudolstadt. In 1792, he was appointed Kapellmeister (effectively director of music) by von Schwarzburg-Rudolstadt; this post was formerly held by his tutor, Scheinpflug. He returned to being a violinist after a year, then became active as a composer and writer on music. He composed various works to celebrate court occasions.[1][2]
Apart from the musical examples in his theoretical works, Koch's compositional works have been lost, including cantatas, a Singspiel, instrumental and church music. The inventory of the court orchestra in the Thuringian State Archives, Rudolstadt, contains seven symphonies by "Koch". Although these are not included in contemporary lists of works, Koch uses the exposition of the first movement of one of these symphonies without author specification as a sheet music example (from his book Versuch einer Anleitung zur Komposition [Attempt at a Guide to Composition], third and last part, p. 386), which could be taken as an indication of his authorship. However, he became best known for his published works on musical theory and his Musiklexikon [Music Dictionary] (1802), which was the most influential since that of Johann Gottfried Walther (1732) and prior to the encyclopedias of Gustav Schilling (1835–38) and Hermann Mendel & August Reissmann (1870–83); it summarised the body of knowledge of the Baroque period and early Classical period. Versuch einer Anleitung zur Komposition was the first book to deal with the systematic and detailed structure of harmony, melody and musical syntax, making it the most important forerunner of Hugo Riemann's alternative theories. His theoretical work continues to be the subject of modern analysis.[1][2] [3][4][5][6][7][8][9]
In 1818, he was elected a member of the Royal Swedish Academy of Music with the award of a diploma; the academy was, however, unaware of his death two years previously.[1]
Publications
Versuch einer Anleitung zur Komposition [Attempt at a Guide to Composition], 3 volumes. Rudolstadt & Leipzig 1782, 1787, 1793, Adam Friedrich Böhme. Reprint Olms, Hildesheim, 1969; Study edition in one volume, ed. by Jo Wilhelm Siebert. Siebert, Hanover, 2007. Digital new set and facsimile in: Music-theoretical sources 1750-1800, ed. by Ulrich Kaiser. Directmedia, Berlin, 2007, ISBN 978-3-89853-615-8.
Vol. 1, 1782, Von der Art und Weise wie Töne an und für sich betrachtet harmonisch verbunden werden und Vom Contrapuncte [On the way in which tones considered in and of themselves are harmoniously combined and on counterpoint]. University of Strasbourg
Vol. 2, 1787, Von der Art wie die Melodie in Rücksicht der mechanischen Regeln verbunden wird [On the manner in which melody is combined in respect of the mechanical rules]. University of Strasbourg
Vol. 3, 1793, Fortsetzung Von den mechanischen Regeln der Melodie: Von der Verbindung der melodischen Theile, oder von dem Baue der Perio
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