“ It seems to me that ensemble constraints must first be understood in their own terms, within musical cultures individually and comparitively, looking to what appear to be basic principles in each in light of the others, I would call such a study 'comparative counterpoint'. ”
- Harold Powers- Copy
- 1.2K
“ Given my present belief in the much greater range of variability as to both order and kind of complexity in the world's musics versus the world's languages, I can hardly imagine how a model developed really satisfactorily for the detailed structureal explanation of one musical language is so easily modified to another. ”
- Harold Powers- Copy
- 1.3K
“ No critic, not even a topical analyst, can escape seeing the musical past from a present perspective. ”
- Harold Powers- Copy
- 2K
“ It seems to me that ensemble constraints must first be understood in their own terms, within musical cultures individually and comparitively, looking to what appear to be basic principles in each in light of the others, I would call such a study 'comparative counterpoint'. ”
- Harold Powers- Copy
- 1.9K
“ Given my present belief in the much greater range of variability as to both order and kind of complexity in the world's musics versus the world's languages, I can hardly imagine how a model developed really satisfactorily for the detailed structureal explanation of one musical language is so easily modified to another. ”
- Harold Powers- Copy
- 2.4K
“ No critic, not even a topical analyst, can escape seeing the musical past from a present perspective. ”
- Harold Powers- Copy
- 2.2K
“ Given my present belief in the much greater range of variability as to both order and kind of complexity in the world's musics versus the world's languages, I can hardly imagine how a model developed really satisfactorily for the detailed structureal explanation of one musical language is so easily modified to another. ”
- Harold Powers- Copy
- 2K
“ It seems to me that ensemble constraints must first be understood in their own terms, within musical cultures individually and comparitively, looking to what appear to be basic principles in each in light of the others, I would call such a study 'comparative counterpoint'. ”
- Harold Powers- Copy
- 375
“ No critic, not even a topical analyst, can escape seeing the musical past from a present perspective. ”
- Harold Powers- Copy
- 2K
“ No critic, not even a topical analyst, can escape seeing the musical past from a present perspective. ”
- Harold Powers- Copy
- 2.5K
“ It seems to me that ensemble constraints must first be understood in their own terms, within musical cultures individually and comparitively, looking to what appear to be basic principles in each in light of the others, I would call such a study 'comparative counterpoint'. ”
- Harold Powers- Copy
- 3.7K
“ No critic, not even a topical analyst, can escape seeing the musical past from a present perspective. ”
- Harold Powers- Copy
- 2.7K
“ It seems to me that ensemble constraints must first be understood in their own terms, within musical cultures individually and comparitively, looking to what appear to be basic principles in each in light of the others, I would call such a study 'comparative counterpoint'. ”
- Harold Powers- Copy
- 3.8K
“ Given my present belief in the much greater range of variability as to both order and kind of complexity in the world's musics versus the world's languages, I can hardly imagine how a model developed really satisfactorily for the detailed structureal explanation of one musical language is so easily modified to another. ”
- Harold Powers- Copy
- 1