Epidiapente

In music of ancient Greece, the term epidiapente indicated an interval a perfect fifth higher.[1] This meaning was also used by western European composers of the Renaissance,[2] and can even be found as late as The Musical Offering of J. S. Bach. In that case, it was used in the "Fuga canonica in epidiapente" to indicate that the second (unwritten) voice was to enter a fifth higher.[3] Friedrich Wilhelm Marpurg described in 1801 a canon to the upper fifth as canon in diapente.[4]

The term 'hypodiapente' designated canons at the lower fifth.[2][5]

References

  1. ^ "epidiapente", Oxford Reference
  2. ^ a b Willi Apel, Harvard Dictionary of Music, Harvard University Press, 1950, p. 227: "Diapente [Gr. pente, five]. Ancient Greek and medieval name for the fifth. Epidiapente, fifth above; subdiapente or hypodiapente, fifth below. Hence, canon in epidiapente, canon in the fifth above."
  3. ^ "'Fuga canonica in epidiapente' from Musikalisches Opfer", Netherlands Bach Society.
  4. ^ Friedrich Wilhelm Marpurg, Traité de la fugue et du contrepoint, Paris, Naderman, 1801, p. 121.
  5. ^ "Diapente (from Gk. dia pente: 'through five')". Grove Music Online (8th ed.). Oxford University Press. 2001. doi:10.1093/gmo/9781561592630.article.07721. ISBN 978-1-56159-263-0. (subscription, Wikilibrary access, or UK public library membership required)
This article is issued from Wikipedia. The text is available under Creative Commons Attribution-Share Alike 4.0 unless otherwise noted. Additional terms may apply for the media files.