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    <font size="+1"><font face="Times New Roman">I wish to apologize to
        Prof. </font>Väisälä for attributing the quote below to him. I
      should have attributed it to Prof. Peter Schubert. Sorry for the
      error!<br>
      <br>
      Christopher Bonds<br>
      Wayne State College, Emeritus<br>
      <br>
    </font>
    <div class="moz-cite-prefix">On 5/24/2014 11:10 PM, Olli Väisälä
      wrote:<br>
    </div>
    <blockquote cite="mid:70A3CED9-9913-44E4-A8FC-26E87820A10C@siba.fi"
      type="cite">
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        <blockquote type="cite">
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              <p class="MsoNormal"><span style="font-family: Calibri; "><font
                    class="Apple-style-span" size="3">I always found it
                    ironic that Palestrina is the model for general
                    principles of melody writing. This has been the case
                    since Jeppesen, a scholar who admired Palestrina's
                    tunes for their Wagnerian qualities, and who had no
                    idea how counterpoint works. </font></span></p>
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        <div><br>
        </div>
        Dear Prof. Schubert,</div>
      <div><br>
      </div>
      <div>Your harsh verdict of Jeppesen ("no idea") would be more
        productive, if you took the trouble of substantiating it.<br>
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              <p class="MsoNormal"><span style="font-family: Calibri; "><font
                    class="Apple-style-span" size="3"><o:p></o:p></font></span></p>
              <p class="MsoNormal"><span style="font-family: Calibri; "><o:p><font
                      class="Apple-style-span" size="3"> </font></o:p></span></p>
              <p class="MsoNormal"><span style="font-family: Calibri; "><font
                    class="Apple-style-span" size="3">I would like to be
                    a fly on the wall of the present-day counterpoint
                    classrooms where this type of writing is taught—is
                    it just recycled Jeppesen? It's for sure not any
                    historical source: no treatise in the Renaissance
                    addresses "good melody writing" (except for the most
                    obvious errors). Palestrina, like everybody else,
                    stole, modeled, recycled, and wrote brilliant tunes,
                    but there was no theory of melody in his day. <o:p></o:p></font></span></p>
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      </div>
      <div>I think Jeppesen was fully aware that there was no such
        theory in Palestrina's day. But this certainly does not suffice
        to imply that we should not utilize Palestrina's music – or
        Jeppesen's ideas about it – in trying to approach principles of
        "good melody writing."</div>
      <div><br>
      </div>
      <div>Best wishes,</div>
      <div>Olli Väisälä</div>
      <div>Sibelius Academy</div>
      <div>University of the Arts, Helsinki</div>
      <div><a moz-do-not-send="true" href="mailto:ovaisala@siba.fi">ovaisala@siba.fi</a></div>
      <div><br>
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