Background
Kitson was born in Leyburn, Yorkshire, and attended school in Ripon.
(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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(The Elements of Musical Composition C.H. Kitson Oxford Un...)
The Elements of Musical Composition C.H. Kitson Oxford University Press 1936 Handy little book, 5x7 approximate size Excellent pre-owned condition see my other listings for other books by Kitson about music! MiniboxBB
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(This is an EXACT reproduction of a book published before ...)
This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is cultur...
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(Excerpt from The Art of Counterpoint: And Its Application...)
Excerpt from The Art of Counterpoint: And Its Application as a Decorative Principle The appearance of a new book on Counterpoint, when there are already in existence numerous treatises on the subject, may seem to demand some justification. All books on Counterpoint must of necessity bear a certain resemblance to each other. Any difference must be sought in the point of view, in the relative prominence given to various phases of the subject, and in the treatment of detail, rather than in the statement of general truths or in novelty of arrangement. The history and the broad outlines of Counterpoint offer little scope for originality, and in these matters the present work will be found not unlike its predecessors. The chief points of difference are: - (a) The derivation of the rules of Scholastic Counterpoint from the practice of Palestrina, whose works exhibit the Art of Counterpoint in its perfection, rather than from a study of textbooks, the many discrepancies between which are due to the fact that theory has been built upon theory, often mingled with personal prejudice, so that the original basis of the earlier treatises has been forgotten or perhaps ignored. Little by little, harmonic resource has been restricted and melodic idiom enlarged. The result is a system of Counterpoint which has little connexion with the past and none with the present, containing a code of arbitrary rules which in many important features do not represent the technique of any period of musical art. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(Excerpt from Applied Strict Counterpoint So many pupils ...)
Excerpt from Applied Strict Counterpoint So many pupils have acknowledged to me the advantages that have accrued to them from having understood and practised the application of Strict Counterpoint in composition in the strict style, that it seemed to me a short treatise on the subject might be serviceable. Very few teachers encourage the study of Strict Counterpoint in anything but its purely technical and analytical aspects. It is certain that very few students understand the function of the semibreve Canto Fermo. Still fewer realize that it can be eliminated, and that the application of the technique of Strict Counterpoint without this constant factor results in composition in the style of the Polyphonic Period. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
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(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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(This volume contains a fascinating treatise on the materi...)
This volume contains a fascinating treatise on the material of musical composition, its gradual growth, and its elementary use. Although old, much of the information in this book is still relevant and will be of considerable utility to those with an interest in music theory. The chapters of this volume include: “The Principle of Chords”, “The Ecclesiastical Modes and the Modern Scalic System”, “Principles of Melodic Progression”, “Ear – Training in Them”, “Further Preliminaries in Ear-Training”, “The Triads of the Major Key in Root Position”, etcetera. Many vintage texts such as this are increasingly scarce and expensive, and it is with this in mind that we are republishing this book now, in an affordable, high-quality, modern edition. It comes complete with a specially commissioned biography of the author.
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(Excerpt from Elementary Harmony, Vol. 3 In the Polyphoni...)
Excerpt from Elementary Harmony, Vol. 3 In the Polyphonic Period the contrapuntal aspect of music is chie y revealed, for the simple reason that combined sound itself was the result of combined melodies. In later periods we have both the harmonic and the contrapuntal styles, and the second is always the later manifestation. For, obviously, a writer cannot give attention to the individuality of his various parts till he is thoroughly conversant with the harmonic basis underlying their combination. This book has dealt with the purely harmonic side of the period. The student's next step is to study the contra puntal phase. It may further be urged that the best-equipped person for attempting modern technique is he who understands the whole process of development. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
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music educator musicologist organist theorist
Kitson was born in Leyburn, Yorkshire, and attended school in Ripon.
Between those dates, he also took the Bachelor of Music (1897) and Doctor of Music (1902) degrees at Oxford, as an external student.
Intending originally to take holy orders, he took his Bachelor (1896) and Master of Arts (1904) at Cambridge, where he was organ scholar of Selwyn College. After teaching at Haileybury and Street Edmund"s School, Canterbury, he became organist of Street John the Baptist, Leicester. His first important post was as organist at Christ Church Cathedral in Dublin, in 1913 – a post which he held until 1920 and which he combined with the post of Professor of Theory at the Royal Irish Academy of Music.
During his stay in Dublin, he became Professor of Music at University College Dublin between 1916 and 1920, filling temporarily the post of Heinrich Bewerunge.
In 1920, he resigned both posts and returned to England, settling in London, where he joined the staff of the Royal College of Music. The same year, he also succeeded Percy Buck as Professor of Music at Trinity College, Dublin – a non-residential post, from which he retired in 1935.
Among his notable pupils are Arthur Duff, Arwel Hughes, John F. Larchet, Herbert Sanders, Robert Still, Michael Tippett, and South. Drummond Wolff. He died in Kensington, London, in 1944.
(Excerpt from Applied Strict Counterpoint So many pupils ...)
(Excerpt from The Art of Counterpoint: And Its Application...)
(This book was originally published prior to 1923, and rep...)
(This volume contains a fascinating treatise on the materi...)
( A compiled set of studies in the contrapuntal style of ...)
(This is an EXACT reproduction of a book published before ...)
(This is a reproduction of a book published before 1923. T...)
(This is a reproduction of a book published before 1923. T...)
(The Elements of Musical Composition C.H. Kitson Oxford Un...)
(Excerpt from Elementary Harmony, Vol. 3 In the Polyphoni...)