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Child Composers in the Old ConservatoriesHow Orphans Became Elite Musicians$
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Robert O. Gjerdingen

Print publication date: 2020

Print ISBN-13: 9780190653590

Published to Oxford Scholarship Online: September 2020

DOI: 10.1093/oso/9780190653590.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 24 June 2021

Counterpoint and Collocation

Counterpoint and Collocation

(p.129) 10 Counterpoint and Collocation
Child Composers in the Old Conservatories

Robert O. Gjerdingen

Oxford University Press

We know a lot about which words go together in our native language. In English we say “She caught a cold and then the flu.” We would never say “She caught the cold and then a flu.” Often we cannot articulate a rule for such knowledge—we just pick it up from hearing language in use. Counterpoint in music was learned the same way. Millions of combinations of tones were possible, but only certain combinations were preferred. Linguists call them “collocations,” meaning things co-located much more frequently than might be expected if combinations were random. The chapter surveys several contrapuntal collocations taught in Naples.

Keywords:   John McHardy Sinclair, Albert Bates Lord, Giovanni Salini, Vincenzo Lavigna, Joséphine Boulay

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