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Thorough-Bass Accompaniment According to Johann David Heinichen [Paperback]

George Buelow


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Book Description

Nov. 1 1992
Johann David Heinichen (1683-1729) was a distinguished composer, a contemporary of Johann Sebastian Bach, and Cappellmeister at the court of August I in Dresden. His tratise, Der General-Bass in der Composition, is one of the most comprehensive sources for the late Baroque practice of figured-bass, or thorough-bass, accompaniment. It is a fund of information about many complex problems confronting musicians in the performance and interpretation of Baroque music, including meters, embellishments, dissonance, particular complications for recitative, and use of the figured bass.

With a judicious combination of translation, interpretation, and commentary George J. Buelow makes Heinichen's famous treatise accessible for contemporary scholars and performers. Buelow provides translations of key sections of the treatise, explains its historical significance, clarifies Heinichen's obscurities, and relates the treatise to other musical theories and practices of the Baroque, including those of Gasparini, Mattheson, and the Bachs. Buelow, one of the world's premier experts on Baroque music, is a professor of musicology at Indiana University.


Product Details

  • Paperback: 462 pages
  • Publisher: University of Nebraska Press; New edition edition (Nov. 1 1992)
  • Language: English
  • ISBN-10: 0803261063
  • ISBN-13: 978-0803261068
  • Product Dimensions: 22.7 x 15.1 x 2.7 cm
  • Shipping Weight: 649 g

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Amazon.com: 5.0 out of 5 stars  1 review
14 of 14 people found the following review helpful
5.0 out of 5 stars Good summary of important Baroque music theorist Nov. 18 1998
By McIrvine@IX.Netcom.Com - Published on Amazon.com
Format:Paperback
Johann David Heinichen was (along with Johann Mattheson, Johann Gottfried Walther, Kirnberger, and J. J. Fux) one the important music theorists of the late Baroque era. His treatise primarily deals with figured-bass theory, but also reflects a summary of music theory mixed with new ideas of the Dresden school. Professor Buelow's book wisely selects important portions in translation and summarizes some of the parts of lesser interest and importance. Anyone doing research in Baroque music theory should own this because it is a treasure trove of material for theorists. It is a scholarly volume that will not appeal to a general audience.

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