Compositional theory in the eighteenth century /

Because the influence of Zarlino was still being felt by musicians two centuries later, Lester employs Zarlino's legacy as a springboard into the 18th century. The close of the 18th century (and of Lester's book) is represented by Heinrich Christoph Koch, whose comprehensive works substantially synthesize the compositional practices of the era. The synthesist par excellence, however, is Lester. He surveys, analyzes, links, and interrelates the works of more than 100 theorists of the 17th and 18th centuries while focusing on the period from about 1720 to 1790. This period comprises a unique and engrossing mix of species counterpoint, harmonic theory, thoroughbass, and melodic studies that reflect the central works of (among others) Fux, Heinichen, Rameau, Mattheson, Marpurg, Kirnberger, and Riepel. This book offers the most (only!) objective and comprehensive presentation to date of 18th-century thought on compositional theory as taught and practiced by the leading musicians of the Enlightenment. Recommended for anyone interested in 18th-century music, and especially for musicologists, theorists, and libraries. B. A. Thompson; Winthrop University