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<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>I think part integrity is indeed the point. I have found that
anti-parallels are not uncommon in Renaissance music and there are some in Bach
chorales. This could be because contrary motion trumps vertical interval
sameness, or because a twelfth really isn’t a fifth. Vicentino,
discussing simultaneous skips, allows anti-parallel fifths in five parts and anti-parallel
octaves in eight parts (l’antica musica 1555, bk 2, ch 30, f.41v.). <o:p></o:p></span></p>
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color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>For a couple of examples from Palestrina, see Missa “Vestiva
I colli”, Kyrie, mm. 78 & 89 (Soderlund + Scott 1971, p. 172), or
Missa “Sanctorum meritis,” Agnus, m. 26 (Soderlund + Scott, p. 158);
for Bach, see “Jesu, der du meine Seele” (Mainous + Ottman 1966,
#37, m. 1) or “Allein zu dir, Herr Jesu Christ” (Mainous + Ottman
#13, m. 8).<o:p></o:p></span></p>
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color:#1F497D'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>It would be interesting to know where this prohibition came from.<o:p></o:p></span></p>
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color:#1F497D'><o:p> </o:p></span></p>
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<p class=MsoNormal><span style='font-size:10.0pt;font-family:"Book Antiqua","serif";
color:#1F497D'>Peter Schubert, </span><span style='font-size:10.0pt;font-family:
"Arial","sans-serif";color:#1F497D'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:10.0pt;font-family:"Book Antiqua","serif";
color:#1F497D'>Schulich School of Music</span><span style='font-size:10.0pt;
font-family:"Arial","sans-serif";color:#1F497D'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:10.0pt;font-family:"Book Antiqua","serif";
color:#1F497D'>McGill University</span><span style='font-size:10.0pt;
font-family:"Arial","sans-serif";color:#1F497D'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:10.0pt;font-family:"Book Antiqua","serif";
color:#1F497D'>555 Sherbooke St. W.</span><span style='font-size:10.0pt;
font-family:"Arial","sans-serif";color:#1F497D'><o:p></o:p></span></p>
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<p class=MsoNormal><span style='font-size:10.0pt;font-family:"Book Antiqua","serif";
color:#1F497D'>Montreal, QC H3A 1E3</span><span style='font-size:11.0pt;
font-family:"Calibri","sans-serif";color:#1F497D'><o:p></o:p></span></p>
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<p class=MsoNormal><b><span style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span></b><span
style='font-size:10.0pt;font-family:"Tahoma","sans-serif"'>
smt-talk-bounces@societymusictheory.org
[mailto:smt-talk-bounces@societymusictheory.org] <b>On Behalf Of </b>Dunsby,
Jonathan<br>
<b>Sent:</b> Wednesday, July 07, 2010 10:16 AM<br>
<b>To:</b> smt-talk@societymusictheory.org<br>
<b>Subject:</b> Re: [Smt-talk] Fwd: First Species Question<o:p></o:p></span></p>
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<p class=MsoNormal><o:p> </o:p></p>
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<p class=MsoNormal><span style='color:blue'>...fifths are (and sound like)
fifths, no matter what registers... </span><o:p></o:p></p>
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<p class=MsoNormal><span style='color:blue'>Best regards,</span><o:p></o:p></p>
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<p class=MsoNormal><span class=apple-style-span><span style='font-size:9.0pt;
color:blue'>Donna Doyle</span></span><o:p></o:p></p>
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<p class=MsoNormal><span style='font-size:9.0pt;font-family:"Helvetica","sans-serif";
color:blue'>Aaron Copland School of Music</span><o:p></o:p></p>
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<p class=MsoNormal><span style='font-size:9.0pt;font-family:"Helvetica","sans-serif";
color:blue'>Queens College</span><o:p></o:p></p>
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<p class=MsoNormal><span style='font-size:9.0pt;font-family:"Helvetica","sans-serif";
color:blue'>65-30 Kissena Blvd.</span><o:p></o:p></p>
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<p class=MsoNormal><span style='font-size:9.0pt;font-family:"Helvetica","sans-serif";
color:blue'>Flushing, NY 11367</span><o:p></o:p></p>
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<p style='margin:0in;margin-bottom:.0001pt;MIN-HEIGHT: 14px'><br>
Well you say that, but almost as another thread I'm wondering just how and
where, from a theory-building point of view, the illusion of 'part'
integrity kicks in or doesn't? When e.g. a voice actually dips under
the piano bass line in a 19C Lied, how come we don't hear it as the 'bass'
(shades of Dichterliebe No. 2, of course, beloved of us theorists, but such
happens all over Western art music, here and there)? My teacher always said
"because that's what Messiaen taught us". But is there
a history-of-theory etiology to this issue or perhaps non-issue?
(Obviously, fifths with the 'bass' and fifths entailing only inner parts are
not, in general, the same thing....)<o:p></o:p></p>
<p style='margin:0in;margin-bottom:.0001pt;MIN-HEIGHT: 14px'> <o:p></o:p></p>
<p style='margin:0in;margin-bottom:.0001pt;MIN-HEIGHT: 14px'>Jonathan<o:p></o:p></p>
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<p class=MsoNormal><span style='font-size:10.5pt;font-family:Consolas'>______________</span><o:p></o:p></p>
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<p class=MsoNormal>Jonathan Dunsby<o:p></o:p></p>
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<p class=MsoNormal>Chair, Music Theory Department<o:p></o:p></p>
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<p class=MsoNormal>Professor of Music Theory<o:p></o:p></p>
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<p class=MsoNormal>Eastman School of Music<o:p></o:p></p>
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<p class=MsoNormal> <o:p></o:p></p>
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<p style='margin:0in;margin-bottom:.0001pt;MIN-HEIGHT: 14px'> <o:p></o:p></p>
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