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such a way that they assemble a canon. In this untraditional fashion, a contour’s cells are presented and altered in a rotational motion, until the entire image or contour can be seen in its Prime form. Each cell in a pairing of
Subcontouric Cells cycles through their rotational variations, until they have established themselves in their intended contour position, or Prime Form, such as (1-1)(1-2), referred to as a contour’s Cell Cycle.
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469:", "The use of canon to embody the differing perspectives of the participants a first glance seems odd, but the rigid form allows for some character differentiation and does in fact make a dramatic point". "Everyone sings the same music to very different words, sinking their private thoughts into musical or at least linear anonymity". "The softly padding gait, the dove-tailed perfection of the
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181:, which means "law" or "norm". In contrapuntal usage, the word refers to the "rule" explaining the number of parts, places of entry, transposition, and so on, according to which one or more additional parts may be derived from a single written melodic line. This rule was usually given verbally, but could also be supplemented by special signs in the score, sometimes themselves called
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42:
1102:...A rhythmic canon is one whose tone onsets result in a regular pulse train with no simultaneous tone onsets at a time. In that sense, a rhythmic canon tiles time, covering a regular pulse train by disjoint equal rhythms from different voices. Note that the established term "rhythmic canon" is somewhat misleading, and "disjoint rhythm canon" might be more exact.
1105:...It turned out, however, that solutions to the time-tiling problem are mainly trivial and musically not interesting. A typical solution is a metronome rhythm entering with equal delays, e.g., a sequence of every fourth beat, entering at the first, at the second, and at the third beat, which is a rhythm analogy of the transpositions of pitch class classes {C, E
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labels 'leader' and 'follower' should be reversed) or at the same time as the leader (for then two lines together would constantly be in unison, or parallel thirds, etc., and there would be no counterpoint), whereas in a crab canon or mensuration canon the two lines can start at the same time and still respect good counterpoint.
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A puzzle canon, riddle canon, or enigma canon is a canon in which only one voice is notated and the rules for determining the remaining parts and the time intervals of their entrances must be guessed. "The enigmatical character of a canon does not consist of any special way of composing it, but only
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involves the application of modulating rhythmic proportions according to a sliding scale. The cancrizans, and often the mensuration canon, take exception to the rule that the follower must start later than the leader; that is, in a typical canon, a follower cannot come before the leader (for then the
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Messiaen considered a set of disjoint pitch classes with the same interval content which covers the twelve-tone tempered scale. For instance, four pitch classes {C, Eâ™, F# , A} and two transpositions, by one and by two semitones, cover the twelve-tone scale and, consequently, meet this requirement.
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A Contour Canon can be recognized in the traditional sense, similar to a strict canon or to a canon by inversion, where an original theme or design is presented, and is then followed by a response of the same theme, as well as in an untraditional fashion, where
Subcontouric Cells are positioned in
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Considering the many types of canon "in the tonal repertoire", it may be ironic that "canon—the strictest type of imitation—has such a wide variety of possibilities". The most rigid and ingenious forms of canon are not strictly concerned with pattern but also with content. Canons are classified by
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features a double canon "between flute and oboe on the one hand and the soprano and alto voices on the other. But what is most interesting in this movement is that the very attractive melodic surface of the canon belies its dogmatic message by offering a moving simplicity of tone to indicate the
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Michael
Musgrave writes that as a result of the strict canon at the octave, the piece is "of an anxious, suppressed nature, ... in the central section this tension is temporarily eased through a very contained passage which employs the canon in chordal terms between the hands." According to
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220:. In both France and Italy, canons were often featured in hunting songs. The medieval and modern Italian word for hunting is "caccia", while the medieval French word is spelled "chace" (modern spelling: "chasse"). A well-known French chace is the anonymous "Se je chant mains".
1099:...By analogy with covering the scale by a few pitch classes and their transpositions, the pulse train was covered by a certain rhythmic pattern with different delays. The disjointedness of pitch classes implied no common beats in different instances of the rhythmic pattern.
224:
describes "Se je chant mains" as evoking the atmosphere of a falcon hunt: "The middle section is truly a tour de force, but of a wholly new and off-beat type: a riot of hockets set to 'words' mixing French, bird-language, and hound-language in an onomatopoetical mélange."
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Computational methods for finding rhythmic canons, both infinite and finite, with arbitrary generative rhythmic patterns were developed in the 2000s with further generalization to so-called "rhythmic fugues" with a few generative rhythmic patterns.
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Another standard designation is "Canon: Two in One", which means two voices in one canon. "Canon: Four in Two" means four voices with two simultaneous canons. While "Canon: Six in Three" means six voices with three simultaneous canons, and so on.
812:, or a proportional canon), the follower imitates the leader by some rhythmic proportion. The follower may double the rhythmic values of the leader (augmentation or sloth canon) or it may cut the rhythmic proportions in half (diminution canon).
1076:) play the same rhythmic sequence in a 3:2 ratio, but the right hand adapts a sequence of 13 chords in the sixth mode (B–C–D–E–F–F–G–A–B) onto the 18 duration values, while the left hand twice states nine chords in the third mode.
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233:(1361). Referring to the setting of the fourth stanza of this work, Taruskin says "a well-wrought chace can be far more than the sum of its parts; and this particular chace is possibly Machaut's greatest feat of
1401:, features a repetitive canon using the same key progression (F#, D, A, E x2). Since ita recognition online, there have been multiple covers of the song, including a mashup of it with Johann Pachelbel's
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canon meant to be placed on a table in between two musicians, who both read the same line of music in opposite directions. As both parts are included in each single line, a second line is not needed.
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which is a "continually adjusting" canon with variable distance between the voices, in which melodic and harmonic elements are not important, but rely simply on the time intervals of imitation.
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describes the above as "a delightfully naĂŻve canon". More sophisticated and varied in its treatment of intervals and harmonic implications is the canonic passage from the second movement of his
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1013:(or canon by contrary motion), the subsequent voice imitates the initial voice in inversion. They are not very common, though examples of mirror canons can be found in the works of Bach,
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employed a technique which he called "rhythmic canon", a polyphony of independent strands in which the pitch material differs. An example is found in the piano part of the first of the
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of the method of writing it down, of which a solution is required." Clues hinting at the solution may be provided by the composer, in which case the term "riddle canon" can be used.
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Although, for clarity, this article uses leader and follower(s) to denote the leading voice in a canon and those that imitate it, musicological literature also uses the traditional
363:. "Throughout its sinewy length, between upper and lower strings. Here is the superbly logical fulfilment of the two-part octave doubling of Haydn's earliest divertimento minuets":
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If the follower imitates the precise interval quality of the leader, then it is called a strict canon; if the follower imitates the interval number (but not the quality—e.g., a
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Davies, Peter
Maxwell. 1972. : "Canons and Epitaphs in Memoriam Igor Stravinsky. A Solution by Peter Maxwell Davies of the Puzzle-Canon He Contributed to Set I, Published in
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473:, induce a trance that, carrying the protagonists outside Time, hints that there are realms of truth beyond the masks they pathetically or comically present to the world."
660:. This terminology may be used in combination with a similar terminology for the interval between each voice, different from the terminology in the following paragraph.
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as a piece "rich in canons". In the following passage, the left hand shadows the right at the time distance of one beat and at the pitch interval of an octave lower:
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Canons and
Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History. Proceedings of the International Conference Leuven, 4–5 October 2005
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various traits including the number of voices, the interval at which each successive voice is transposed in relation to the preceding voice, whether voices are
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611:; the temporal distance between each voice, whether the intervals of the second voice are exactly those of the original or if they are adjusted to fit the
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442) is a canon in which the player's right hand is imitated at the distance of one beat, creating rhythmic ambiguity within the prevailing triple time:
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1265:", found at the end of a collection of five theory treatises from the third quarter of the fourteenth century collected in the Berkeley Manuscript.
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comfort that particular doctrine provides for the believer. Canonic devices often bear the association of strictness and the law in Bach's work."
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287:'s song "Resvelons nous, amoureux", the lower two voices are in canon, but the upper part is what David Fallows describes as a "florid top line":
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Agon, Carlos, and Moreno
Andreatta. 2011. "Modeling and Implementing Tiling Rhythmic Canons in the OpenMusic Visual Programming Language".
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Saewitz, Scott, "WEBERN’S LABYRINTH: CONTOUR AND CANONIC INTERACTION– An
Analysis of Webern’s Op. 16, No. 2" (2017). CUNY Academic Works.
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Saewitz, Scott, "WEBERN’S LABYRINTH: CONTOUR AND CANONIC INTERACTION– An
Analysis of Webern’s Op. 16, No. 2" (2017). CUNY Academic Works.
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Additional types include the spiral canon, accompanied canon, and double or triple canon. A double canon is a canon with two simultaneous
520:, "the canon is, as it were, absorbed into the texture of the music—it is there, but one doesn't easily hear it." Peter Latham describes
125:" that call for each successive group of voices to begin the same song a bar or two after the previous group began are popular examples.
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A double canon is a composition that unfolds two different canons simultaneously. A duet aria, "Herr, du siehst statt guter Werke" from
370:
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Hartmann, GĂĽnter. 1989. "Ein
Albumblatt fĂĽr Eliza Wesley: Fragen zu Mendelssohns Englandauenthalt 1837 und eine spekulative Antwort".
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In many pieces in three contrapuntal parts, only two of the voices are in canon, while the remaining voice is a free melodic line. In
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Andreatta, Moreno. 2011. "Constructing and
Formalizing Tiling Rhythmic Canons: A Historical Survey of a 'Mathematical' Problem".
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employed canonic textures in his work; his Op. 16 work is a collection of five canons for soprano, clarinet, and bass clarinet.
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1361:, Agnus Dei 2: One voice with the words 'ex una voce tres' (three voice parts out of one), a mensuration canon in three voices.
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165:, meaning "fettered fugue". Only in the 16th century did the word "canon" begin to be used to describe the strict, imitative
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676:) imitates the leader perfectly at the octave or unison. Well-known canons of this type include the famous children's songs
1368:, Agnus Dei 2: two simultaneous canons in the four upper voices, and at the same time a crab canon in the two lower voices.
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1384:. Each canon additionally obeys the overall structure and harmonic sequence common to all variations in the composition.
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205:("wheel") in the manuscript source. The term "round" only first came to be used in English sources in the 16th century.
2452:, edited and translated by Oliver B. Ellsworth. Greek and Latin Music Theory 9. Lincoln: University of Nebraska Press.
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was another post-tonal composer who favoured rhythmic canons, where the pitch materials are not obliged to correspond.
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1261:. According to Oliver B. Ellsworth, the earliest known enigma canon appears to be an anonymous ballade, "En la maison
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834:) in which each section is a mensuration canon, and all at different speeds and entry intervals. In the 20th century,
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to the leader. Where the leader would go down by a particular interval, the follower goes up by that same interval.
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556:, " looks on paper like another purely intellectual exercise... in practice it produces a warmly melodic effect."
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Blackburn, Bonnie J. 2012. "The Corruption of One Is the Generation of the Other: Interpreting Canonic Riddles".
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Carvalho, Mário Vieira de. 1999. "Towards Dialectic Listening: Quotation and Montage in the Work of Luigi Nono".
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1117:, A}. Non-trivial solutions have been found by Dan Tudor Vuza for a circular time with periods 72, 108, 120,...
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An example of late 14th century canon which featured some of the rhythmic complexity of the late 14th century
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fashion; e.g., "Three Blind Mice". Such a canon is also called a round or, in medieval Latin terminology, a
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J. G. Albrechtsberger's Collected Writings on Thorough-bass, Harmony, and Composition, for Self Instruction
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Beethoven's most spectacular and dramatically effective use of canon occurs in the first act of his opera
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Music from the Earliest Notations to the Sixteenth Century: The Oxford History of Western Music, Volume 1
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or some transformation thereof. Repeating canons in which all voices are musically identical are called
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complained that sometimes a solution, "which being founde (it might bee) was scant worth the hearing",
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97 (June): : In Memoriam: Igor Fedorovich Stravinsky. Canons and Epitaphs, Set I: one unnumbered page.
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Example of a canon in three voices at the unison sung with a text of a German poem, four beats apart.
3021:, edited by Alison Latham. Oxford Music Online. Oxford University Press (accessed 13 December 2014)
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is a canon accompanied by one or more additional independent parts that do not imitate the melody.
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3500:. Analysis in Context: Leuven Studies in Musicology 1. Leuven and Dudley, Massachusetts: Peeters.
615:, and the tempo of successive voices. However, canons may use more than one of the above methods.
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Vuza, Dan Tudor (1991a). "Supplementary sets and regular complementary unending canons. Part 1".
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2908:(Danish and English), edited by Jørgen Mortensen. www.pernoergaard.dk (Accessed 20 January 2013).
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157:—that is, through the early 18th century—any kind of imitative musical counterpoints were called
35:
3550:– A Musical Pedagogical Workshop by J. S. Bach, or, The Musical Geometry of Bach's Puzzle Canons
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admits that, "when we have traced the secret, we have gained but little; as the proverb says, '
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featured canons in their works. The final variation of Handel's keyboard Chaconne in G major (
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3350:, edited by Jann Pasler, 217–246. Berkeley and Los Angeles: University of California Press.
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A famous piano piece, "River Flows in You" in the key of F# minor by South Korean Pianist
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of the utmost delicacy and refinement. "Each of the four participants delivers his or her
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3287:— (1991d). "Supplementary sets and regular complementary unending canons. Part 4".
3258:— (1991c). "Supplementary sets and regular complementary unending canons. Part 3".
3229:— (1991b). "Supplementary sets and regular complementary unending canons. Part 2".
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3168:, edited by Paul Robinson, 101–131. Cambridge and New York: Cambridge University Press.
2748:, edited by Paul Robinson, 132–144. Cambridge and New York: Cambridge University Press.
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Same canon, presented by the composer as a puzzle, with multiple clefs provided as clues
485:, the use of devices such as canon was even more often subtly hidden, as for example in
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A Plaine and Easie Introduction to Practicall Musicke, Set Downe in Forme of a Dialogue
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1210:("Let there be one series of three parts" and "sing three times with three voices").
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707:, featuring a canon at the fourth between the two upper voices in the first six bars.
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93:(e.g., quarter rest, one measure, etc.). The initial melody is called the leader (or
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2950:. Boston: Oliver Ditson. Translated from third German edition by Foote, Arthur W. .
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Bach, passage from duet aria "Herr, du siehst statt guter Werke" in Cantata BWV 9
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Bach, passage from duet aria "Herr, du siehst statt guter Werke" in Cantata BWV 9
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2724:, associate editor, Joyce Bourne. Oxford and New York: Oxford University Press.
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105:). The follower must imitate the leader, either as an exact replication of its
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3005:, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
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3515:, edited and introduced by Ronald Stevenson. New York: Crescendo Pub., 1977.
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IRCAM, Seminaire MaMuX, 9 February 2002, MosaĂŻques et pavages dans la musique
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IRCAM, Seminaire MaMuX, 9 February 2002, MosaĂŻques et pavages dans la musique
394:'s works feature a number of passages in canon. The following comes from his
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The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart
1870:
1868:
1279:'" but adds that, "these speculative passages ... serve to sharpen acumen".
45:
Contrived example of a canon in three voices at the unison, two beats apart.
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The most familiar of the canons is the perpetual/infinite canon (in Latin:
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Beethoven, canonic passage from the second movement of Piano Sonata Op. 101
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contains nine canons of increasing interval size, ranging from unison to
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890:. As each voice of the canon arrives at its end it can begin again, in a
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A canon of two voices may be called a canon in two, similarly a canon of
466:
213:
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Electro-Acoustic Music Dartmouth.edu: Larry Polansky's Four Voice Canons
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Tusa, Michael C. 1996. "Music as Drama: Structure, Style and Process in
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River Flows in You / Canon in D - Single by Steven Chin on Apple Music
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Griffiths, Paul. 2001. "Messiaen, Olivier (Eugène Prosper Charles)".
2409:. London: Novello & Co., Ltd.; New York: The H. W. Gray Co., Inc.
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also used the 3-voice "chace" form in movements from his masterpiece
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824:, particularly in the late fifteenth and early sixteenth centuries;
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Litterick, Louise. 2000. "Chansons for Three and Four Voices". In
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Handel, final variation (no. 62) from Chaconne in G major, HWV 442
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Traité de rythme, de couleur, et d'ornithologie (1949–1992). I-II
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Tangian, Andranik (2002–2003). "Eine kleine Mathmusik I and II".
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Tonal Counterpoint for the 21st-Century Musician: An Introduction
2334:"Structures, algorithms, and algebraic tools for rhythmic canons"
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Leven, Louise W. 1948. "An Unpublished Mendelssohn Manuscript".
3599:
2947:
A Treatise on Canon and Fugue: Including the Study of Imitation
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Beethoven Symphony No. 4, canonic passage from the 1st movement
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Watkins, Glenn. 1986. "Canon and Stravinsky's Late Style". In
1286:
324:
97:), while the imitative melody, which is played in a different
3316:— (1995). "Supplementary sets: theory and algorithms".
2469:. Oxford: Clarendon Press; New York: Oxford University Press.
1874:
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Theories of Fugue from the Age of Josquin to the Age of Bach
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161:, with the strict imitation now known as canon qualified as
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Schiltz, Katelijne, and Bonnie J. Blackburne (eds.). 2007.
2801:, J. Kenneth Wilson, and Peter Urquhart. n.d. "Canon (i)".
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Minuet from Haydn, String Quartet in D minor, Op. 76, No. 2
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Tangian, Andranik (2010). "Constructing rhythmic fugues".
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presented many of his canons in this form, for example in
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The notion of rhythmic canon transfers Messiaen's idea of
838:
composed complex tempo or mensural canons, mostly for the
782:= crab), the follower accompanies the leader backward (in
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created by such a procedure. The word is derived from the
2584:
Hewett, Helen. 1957. "The Two Puzzle Canons in Busnois's
1647:
1645:
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Beethoven Symphony No. 4, first movement, canonic passage
197:
at the beginning of the 14th century; the best known is "
2013:
2011:
355:
An example of a classical strict canon is the Minuet of
260:
has two canonic voices over a free and textless tenor."
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in France. An Italian example is "Tosto che l'alba" by
3461:. 3 vols. Berlin: Dissertation.de—Verlag im Internet.
3185:. Cambridge and New York: Cambridge University Press.
3130:. Cambridge and New York: Cambridge University Press.
2959:. Cambridge and New York: Cambridge University Press.
2675:. Cambridge and New York: Cambridge University Press.
1957:
1955:
1807:
1805:
1803:
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185:. The earliest known non-religious canons are English
3438:
Davalan, Jean-Paul. 2011. "Perfect Rhythmic Tiling".
461:
in canon, "a sublime musical wonder", accompanied by
3459:
KanonkĂĽnste im barocken Italien, insbesondere in Rom
3348:
Confronting Stravinsky: Man, Musician, and Modernist
2371:
Collaborative Creative Thought and Practice in Music
1442:, a 1964 animated representation of a musical canon
980:
J. S. Bach: Canon per augmentationem contrario motu
2041:
854:has written several mensuration canons, including
3472:LĂ©vy, Fabien. 2011. "Three Uses of Vuza Canons".
1092:This is similar to what is called in mathematics
583:
3333:. Rochester, NY: University of Rochester Press.
3147:. Oxford and New York: Oxford University Press.
3113:. Oxford and New York: Oxford University Press.
2922:Perkins, Leeman L. 2001. "Ockeghem , Jean de ".
2807:. Oxford Music Online (Accessed 2 January 2011)
2427:. Oxford and New York: Oxford University Press.
1213:Other notable contributors to the genre include
1087:from the domain of pitch to the domain of time:
3513:Canonic Studies: A New Technique in Composition
3435:. London and New York: Oxford University Press.
3003:The New Grove Dictionary of Music and Musicians
2978:The New Grove Dictionary of Music and Musicians
2925:The New Grove Dictionary of Music and Musicians
2906:: En introduktion til komponisten og hans musik
2635:The New Grove Dictionary of Music and Musicians
2557:The New Grove Dictionary of Music and Musicians
2273:
2029:
1089:
439:Beethoven canon from piano sonata in A, Op. 101
81:-based) compositional technique that employs a
1068:, where the left hand (doubled by strings and
3611:
2899:The 'Open Hierarchies' of the Infinity Series
2591:Journal of the American Musicological Society
2478:. Lanham and London: Rowman and Littlefield.
1796:http://academicworks.cuny.edu/hc_sas_etds/159
1784:http://academicworks.cuny.edu/hc_sas_etds/159
1170:"Wann?", canon for soprano and alto by Brahms
1065:Trois petites liturgies de la présence divine
504:Schumann, "Vogel als Prophet" from Waldszenen
374:Haydn, Minuet from Quartet in D minor, Op. 76
8:
1986:
208:Canons featured in the music of the Italian
2319:, edited by Sabilla Novello, translated by
1321:. Unsourced material may be challenged and
906:is one example of a piece designated rota.
644:for "leader" and "follower", respectively.
3618:
3604:
3596:
3128:Bach and the Riddle of the Number Alphabet
820:Many such canons were composed during the
3367:. Englewood Cliffs, N.J.: Prentice-Hall.
2327:. London: Novello, Ewer, & Company. .
2161:
2053:
1859:
1823:
1341:Learn how and when to remove this message
874:of sloth canons makes it "fractal like".
842:as they are extremely difficult to play.
279:Jacob de Senleches, "La harpe de melodie"
3556:Visualization of J. S. Bach's crab canon
3387:. New York: W. W. Norton & Company.
2101:
2065:
1886:
1847:
1770:
1755:
1743:
1683:
1576:
1564:
1523:
1511:
1359:Missa L'homme armé super voces musicales
808:In a mensuration canon (also known as a
564:Stravinsky composed canons, including a
361:String Quartet in D Minor, Op. 76, No. 2
40:
2261:
2245:
2233:
2221:
2185:
2125:
2017:
2002:
1973:
1961:
1811:
1651:
1636:
1600:
1535:
1456:
786:). Alternative names for this type are
770:In a retrograde canon, also known as a
2257:
2197:
2173:
2113:
2089:
2077:
1731:
1707:
1624:
1588:
1499:
1466:
1198:'s puzzles, composed his own riddles,
999:
457:. Here, four of the characters sing a
2149:
2137:
1990:
1934:
1922:
1910:
1898:
1835:
1612:
547:From Brahms Intermezzo Op. 118, no. 4
526:Intermezzo in F minor, Op. 118, No. 4
338:Handel Chaconne HWV 442, variation 62
256:. According to Richard Hoppin, "This
7:
2868:(in French). Paris: Alphonse Leduc.
2373:. Farnham: Ashgate Publishing, Ltd.
2209:
1946:
1719:
1695:
1319:adding citations to reliable sources
846:has an album of mensuration canons,
3383:, and William Cowdery (eds.) 1990.
2866:La technique de mon langage musical
856:Cantus in Memoriam Benjamin Britten
748:An inversion canon (also called an
426:Piano Sonata 28 in A major, Op. 101
201:" (composed around 1250), called a
89:of the melody played after a given
3552:, schillerinstitut.dk (in English)
2529:, no. 100: three unnumbered pages.
2369:Barrett, Margaret S. (ed.). 2014.
1072:), and the right hand (doubled by
1019:Serenade for Wind Octet in C minor
870:has a sloth canon structure. This
752:canon) has the follower moving in
656:voices would be called a canon in
25:
3426:Journal of the Alamire Foundation
2776:89, no. 1270 (December): 361–363.
2450:Nova musica and De Proportionibus
1875:Scholes, Nagley, and Whittall n.d
117:—familiar singalong versions of "
3700:
2655:. New York: Simon and Schuster.
2604:The Nine Symphonies of Beethoven
1291:
1283:Elaborate use of canon technique
1171:
1146:
1000:Problems playing this file? See
984:
736:The follower is by definition a
708:
672:A simple canon (also known as a
578:composed a number of canons for
539:Brahms Intermezzo Op. 118, no. 4
306:Dufay, "Resvelons nous amoureux"
46:
2632:Johnson, David. 2001. "Round".
2389:The Craft of Tonal Counterpoint
1985:For scores and recordings, see
1202:, using Latin epigrams such as
567:Canon on a Russian Popular Tune
3450:. 2011. "Tiling in My Music".
3050:"Constructing rhythmic canons"
2830:Beethoven and the Voice of God
2722:The Oxford Dictionary of Music
2467:Music, Imagination and Culture
1488:Mann, Wilson, and Urquhart n.d
928:Es ist das Heil uns kommen her
728:), it is called a free canon.
189:, a form first given the name
1:
3166:Ludwig van Beethoven: Fidelio
3019:The Oxford Companion to Music
2957:Ludwig van Beethoven: Fidelio
2832:. London, Faber & Faber.
2746:Ludwig van Beethoven: Fidelio
2510:. 1971. "Canon: In Mem. IS".
2407:Double Counterpoint and Canon
2313:Albrechtsberger, Johann Georg
1366:Missa L'homme armé sexti toni
1085:mode of limited transposition
868:Per Nørgård's infinity series
512:Schumann, "Vogel als Prophet"
101:, is called the follower (or
27:Musical composition technique
3444:49, no. 2 (Summer): 144–197.
3089:Constructing rhythmic canons
2981:, second edition, edited by
2955:Robinson, Paul (ed.). 1996.
2928:, second edition, edited by
2638:, second edition, edited by
2594:10, no. 2 (Summer): 104–110.
2560:, second edition, edited by
913:; a triple canon has three.
798:Mensuration and tempo canons
792:canon per rectus et inversus
584:Mensuration and tempo canons
3428:4, no. 2 (October):182–203.
2260:, 104 cited, inter al., by
1408:In his early work, such as
3748:
3478:49, no. 2 (Summer): 23–31.
3433:Beethoven: The Last Decade
3421:49, no. 2 (Summer): 33–64.
3414:49, no. 2 (Summer): 66–91.
3087:((unpublished addendum to
3048:Tangian, Andranik (2003).
2850:Merriam-Webster Dictionary
2576:Neue Zeitschrift fĂĽr Musik
2423:Chafe, Eric Thomas. 2000.
1403:Canon and Gigue in D Major
1051:wrote a few table canons.
1032:
959:
828:wrote an entire mass (the
801:
763:
740:derivation of the leader.
29:
3698:
3637:
3475:Perspectives of New Music
3454:49, no. 2 (Summer): 9–21.
3452:Perspectives of New Music
3441:Perspectives of New Music
3419:Perspectives of New Music
3411:Perspectives of New Music
3363:White, John David. 1976.
3329:Walker, Paul Mark. 2000.
3289:Perspectives of New Music
3260:Perspectives of New Music
3231:Perspectives of New Music
3201:Perspectives of New Music
3183:Brahms's Song Collections
3058:Perspectives of New Music
2913:Musgrave, Michael. 1985.
2897:Mortensen, Jørgen. n.d. "
2696:Karhausen, Lucien. 2011.
2618:. New York: W. W. Norton.
2448:Ciconia, Johannes. 1993.
2416:Contemporary Music Review
2342:Perspectives of New Music
1989:; for a later survey see
1208:Ter ternis canite vocibus
778:, derived from the Latin
2942:Richter, Ernst Friedrich
2828:Mellers, Wilfrid. 1983.
2740:. 1996. "Augenblicke in
2651:Johnson, Stephen. 1994.
2474:Davidian, Teresa. 2015.
2405:Bridge, J. Frederick. .
2400:(accessed 14 April 2011)
2386:Benjamin, Thomas. 2003.
2332:Amiot, Emmanuel (2011).
1668:: "Mir ist so wunderbar"
1424:used a process he calls
1194:. Mozart, after solving
788:canon per recte et retro
760:Retrograde or crab canon
732:Contrapuntal derivations
141:Medieval and Renaissance
30:Not to be confused with
3023:(subscription required)
2892:. London: Peter Short.
2854:(subscription required)
2844:Merriam-Webster. n.d. "
2809:(subscription required)
2425:Analyzing Bach Cantatas
2042:Zaslaw and Cowdery 1990
1277:Parturiunt montes, etc.
1144:Ernst Friedrich Richter
1025:, and other composers.
678:Row, Row, Row Your Boat
560:20th century to present
298:Dufay, "Resvelons nous"
246:school of composers is
119:Row, Row, Row Your Boat
3727:Classical music styles
3431:Cooper, Martin. 1970.
3143:Todd, R. Larry. 2003.
2720:(ed.). 1994. "Canon".
2698:The Bleeding of Mozart
2625:Haydn String Quartets.
2541:. London: J. M. Dent.
1180:
1163:
1155:
1127:
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952:
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448:
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383:
375:
347:
339:
307:
299:
280:
272:
218:Gherardello da Firenze
66:
55:
3493:. Paris: Leduc, 1994.
3457:Lamla, Michael. 2003
3365:The Analysis of Music
3181:van Rij, Inge. 2006.
3013:, Judith Nagley, and
2783:The Josquin Companion
2761:Latham, Peter. 1948.
2508:Davies, Peter Maxwell
2465:Cook, Nicolas. 1990.
2392:New York: Routledge.
2355:10.1353/pnm.2011.0018
1372:Johann Sebastian Bach
1273:J. G. Albrechtsberger
1169:
1161:
1142:Three voice canon by
1141:
1017:(e.g., the trio from
972:
950:
942:
695:
546:
538:
511:
503:
446:
438:
416:
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381:
373:
345:
337:
305:
297:
278:
271:"La harpe de melodie"
270:
231:Le Lai de la Fontaine
212:and the 14th-century
64:
44:
3548:The Musical Offering
3126:Tatlow, Ruth. 1991.
2989:. London: Macmillan.
2936:. London: Macmillan.
2917:. London: Routledge.
2702:H. C. Robbins Landon
2646:. London: Macmillan.
2606:. London: Heinemann.
2568:. London: Macmillan.
2274:Albrechtsberger 1855
1315:improve this section
1204:Sit trium series una
1191:The Musical Offering
1078:Peter Maxwell Davies
227:Guillaume de Machaut
3481:Messiaen, Olivier.
2915:The Music of Brahms
2030:Merriam-Webster n.d
1549:"Se je chant mains"
1389:Contemporary canons
1377:Goldberg Variations
1039:A table canon is a
696:Beginning of psalm
491:"Vogel als Prophet"
249:La harpe de melodie
77:is a contrapuntal (
32:Canon (hymnography)
3590:My Favorite Things
3540:2012-06-18 at the
3535:Anatomy of a Canon
2999:Sumer is icumen in
2995:Sanders, Ernest H.
2973:Sanders, Ernest H.
2821:Brahms Piano Music
2804:Grove Music Online
2321:Ignaz von Seyfried
1364:Josquin des Prez,
1181:
1164:
1156:
974:
953:
945:
925:'s Cantata BWV 9,
903:Sumer is icumen in
744:Canon by inversion
718:
609:retrograde-inverse
549:
541:
514:
506:
449:
441:
419:
411:
384:
376:
348:
340:
308:
300:
281:
273:
254:Jacob de Senleches
199:Sumer is icumen in
67:
56:
36:Qanun (instrument)
3709:
3708:
3570:to produce canons
3511:Ziehn, Bernhard.
3506:978-90-429-1681-4
3191:978-0-521-83558-9
3153:978-0-19-511043-2
3136:978-0-521-36191-0
3119:978-0-19-538481-9
3105:Taruskin, Richard
2862:Messiaen, Olivier
2773:The Musical Times
2689:978-1-107-61081-1
2681:978-0-521-89574-3
2673:The Life of Haydn
2623:Hughes, R. 1966.
2579:150, no. 1:10–14.
2500:978-1-4422-3460-4
2492:978-1-4422-3459-8
2484:978-1-4422-3458-1
2441:978-0-19-516182-3
2433:978-0-19-512099-8
1987:Tangian 2002–2003
1446:Pachelbel's Canon
1351:
1350:
1343:
1177:
1152:
990:
940:
848:Four-Voice Canons
831:Missa prolationum
826:Johannes Ockeghem
714:
536:
501:
436:
406:
371:
335:
295:
268:
130:accompanied canon
85:with one or more
62:
52:
16:(Redirected from
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2718:Kennedy, Michael
2713:
2692:
2669:Jones, David Wyn
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1243:Pierre de la Rue
1235:Josquin des Prez
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1178:
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1123:Andranik Tangian
1116:
1115:
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1109:
1060:Olivier Messiaen
1021:, K. 388/384a),
992:
991:
971:
941:
893:perpetuum mobile
836:Conlon Nancarrow
772:canon cancrizans
716:
715:
705:Josquin des Prez
648:Number of voices
576:Conlon Nancarrow
537:
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222:Richard Taruskin
63:
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3722:Polyphonic form
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3652:English cadence
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3580:
3542:Wayback Machine
3531:
3526:
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3402:Further reading
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3272:10.2307/3090628
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3015:Arnold Whittall
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2975:2001a. "Rota".
2971:
2954:
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2852:online edition
2843:
2827:
2817:Matthews, Denis
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2769:
2765:. London: Dent.
2760:
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2612:Hoppin, Richard
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884:canon perpetuus
880:
872:self-similarity
810:prolation canon
806:
804:prolation canon
800:
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754:contrary motion
746:
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489:'s piano piece
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3529:External links
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3295:(1): 270–305.
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3266:(2): 102–125.
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3243:10.2307/833290
3237:(1): 184–207.
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3214:10.2307/833429
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2884:Morley, Thomas
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2841:
2825:
2823:. London: BBC.
2813:
2795:
2778:
2767:
2758:
2738:Kerman, Joseph
2734:
2714:
2700:. Foreword by
2693:
2665:
2648:
2629:
2620:
2616:Medieval Music
2608:
2596:
2586:Maintes femmes
2581:
2570:
2551:
2535:Fallows, David
2531:
2518:
2504:
2471:
2462:
2445:
2420:
2411:
2402:
2383:
2366:
2329:
2308:
2306:
2303:
2301:
2300:
2278:
2266:
2250:
2238:
2226:
2214:
2202:
2190:
2178:
2166:
2162:Litterick 2000
2154:
2142:
2130:
2118:
2106:
2094:
2082:
2070:
2058:
2054:Karhausen 2011
2046:
2034:
2022:
2007:
1995:
1978:
1966:
1951:
1939:
1927:
1915:
1903:
1891:
1879:
1864:
1860:Griffiths 2001
1852:
1840:
1828:
1816:
1799:
1787:
1775:
1760:
1748:
1736:
1724:
1712:
1700:
1688:
1676:
1656:
1641:
1629:
1617:
1605:
1593:
1581:
1569:
1557:
1540:
1528:
1516:
1504:
1492:
1471:
1455:
1453:
1450:
1449:
1448:
1443:
1433:
1430:
1417:Clapping Music
1390:
1387:
1386:
1385:
1369:
1362:
1349:
1348:
1299:
1297:
1290:
1284:
1281:
1259:Maxwell Davies
1196:Father Martini
1135:
1132:
1119:
1056:
1055:Rhythmic canon
1053:
1033:Main article:
1030:
1027:
997:
983:
978:
977:
976:
967:
966:
965:
960:Main article:
957:
954:
918:
915:
879:
876:
844:Larry Polansky
802:Main article:
799:
796:
764:Main article:
761:
758:
745:
742:
733:
730:
689:
686:
669:
666:
649:
646:
629:
626:
613:diatonic scale
595:
592:
561:
558:
554:Denis Matthews
478:
475:
422:Antony Hopkins
396:Symphony No. 4
388:
385:
352:
349:
312:
309:
142:
139:
137:
134:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3744:
3733:
3732:Canon (music)
3730:
3728:
3725:
3723:
3720:
3719:
3717:
3703:
3693:
3692:Voice leading
3690:
3688:
3685:
3683:
3680:
3678:
3675:
3673:
3670:
3668:
3665:
3663:
3660:
3658:
3655:
3653:
3650:
3648:
3645:
3643:
3640:
3639:
3636:
3632:
3628:
3621:
3616:
3614:
3609:
3607:
3602:
3601:
3598:
3591:
3587:
3583:
3578:
3576:
3573:
3571:
3569:
3568:SonneLematine
3564:
3561:
3557:
3554:
3551:
3549:
3545:
3543:
3539:
3536:
3533:
3532:
3528:
3522:
3521:0-87597-106-7
3518:
3514:
3510:
3507:
3503:
3499:
3495:
3492:
3491:Pierre Boulez
3489:, preface by
3488:
3487:Yvonne Loriod
3484:
3480:
3477:
3476:
3471:
3468:
3467:3-89825-556-5
3464:
3460:
3456:
3453:
3449:
3446:
3443:
3442:
3437:
3434:
3430:
3427:
3423:
3420:
3416:
3413:
3412:
3407:
3406:
3401:
3394:
3393:9780393028867
3390:
3386:
3382:
3378:
3374:
3373:0-13-033233-X
3370:
3366:
3361:
3357:
3356:0-520-05403-2
3353:
3349:
3344:
3340:
3339:9781580461504
3336:
3332:
3327:
3323:
3319:
3314:
3310:
3306:
3302:
3298:
3294:
3290:
3285:
3281:
3277:
3273:
3269:
3265:
3261:
3256:
3252:
3248:
3244:
3240:
3236:
3232:
3227:
3223:
3219:
3215:
3211:
3207:
3203:
3202:
3196:
3192:
3188:
3184:
3179:
3175:
3174:0-521-45221-X
3171:
3167:
3163:
3158:
3154:
3150:
3146:
3141:
3137:
3133:
3129:
3124:
3120:
3116:
3112:
3111:
3106:
3102:
3090:
3083:
3082:
3076:
3064:
3060:
3059:
3051:
3046:
3035:
3034:
3028:
3020:
3016:
3012:
3008:
3004:
3000:
2996:
2992:
2988:
2984:
2983:Stanley Sadie
2980:
2979:
2974:
2970:
2966:
2965:0-521-45221-X
2962:
2958:
2953:
2949:
2948:
2943:
2939:
2935:
2931:
2930:Stanley Sadie
2927:
2926:
2920:
2916:
2911:
2907:
2905:
2900:
2895:
2891:
2890:
2885:
2881:
2877:
2875:9782856890332
2871:
2867:
2863:
2859:
2851:
2847:
2842:
2839:
2835:
2831:
2826:
2822:
2818:
2814:
2806:
2805:
2800:
2796:
2792:
2791:0-19-816335-5
2788:
2784:
2779:
2775:
2774:
2768:
2764:
2759:
2755:
2754:0-521-45221-X
2751:
2747:
2743:
2739:
2735:
2731:
2730:0-19-869162-9
2727:
2723:
2719:
2715:
2711:
2710:9781456850760
2707:
2703:
2699:
2694:
2690:
2686:
2682:
2678:
2674:
2670:
2666:
2662:
2661:9780671887896
2658:
2654:
2649:
2645:
2641:
2640:Stanley Sadie
2637:
2636:
2630:
2626:
2621:
2617:
2613:
2609:
2605:
2601:
2597:
2593:
2592:
2587:
2582:
2578:
2577:
2571:
2567:
2563:
2562:Stanley Sadie
2559:
2558:
2552:
2548:
2547:9780460031806
2544:
2540:
2536:
2532:
2528:
2524:
2519:
2515:
2514:
2509:
2505:
2501:
2497:
2493:
2489:
2485:
2481:
2477:
2472:
2468:
2463:
2459:
2458:9780803214651
2455:
2451:
2446:
2442:
2438:
2434:
2430:
2426:
2421:
2417:
2412:
2408:
2403:
2399:
2398:0-415-94391-4
2395:
2391:
2390:
2384:
2380:
2379:9781472415868
2376:
2372:
2367:
2356:
2352:
2349:(2): 93–142.
2348:
2344:
2343:
2335:
2330:
2326:
2323:, revised by
2322:
2318:
2314:
2310:
2309:
2304:
2290:
2289:
2282:
2279:
2275:
2270:
2267:
2263:
2259:
2254:
2251:
2247:
2242:
2239:
2235:
2230:
2227:
2223:
2218:
2215:
2211:
2206:
2203:
2199:
2194:
2191:
2187:
2182:
2179:
2175:
2170:
2167:
2163:
2158:
2155:
2151:
2146:
2143:
2139:
2134:
2131:
2127:
2122:
2119:
2115:
2110:
2107:
2103:
2102:Hartmann 1989
2098:
2095:
2091:
2086:
2083:
2079:
2074:
2071:
2067:
2066:Carvalho 1999
2062:
2059:
2055:
2050:
2047:
2043:
2038:
2035:
2031:
2026:
2023:
2019:
2014:
2012:
2008:
2004:
1999:
1996:
1992:
1988:
1982:
1979:
1975:
1970:
1967:
1963:
1958:
1956:
1952:
1948:
1943:
1940:
1936:
1931:
1928:
1924:
1919:
1916:
1912:
1907:
1904:
1900:
1895:
1892:
1888:
1887:Messiaen 1944
1883:
1880:
1876:
1871:
1869:
1865:
1861:
1856:
1853:
1849:
1848:Benjamin 2003
1844:
1841:
1837:
1832:
1829:
1825:
1824:Mortensen n.d
1820:
1817:
1813:
1808:
1806:
1804:
1800:
1797:
1791:
1788:
1785:
1779:
1776:
1772:
1771:Davidian 2015
1767:
1765:
1761:
1757:
1756:Matthews 1978
1752:
1749:
1745:
1744:Musgrave 1985
1740:
1737:
1733:
1728:
1725:
1721:
1716:
1713:
1709:
1704:
1701:
1697:
1692:
1689:
1685:
1684:Robinson 1996
1680:
1677:
1674:
1670:
1667:
1660:
1657:
1653:
1648:
1646:
1642:
1638:
1633:
1630:
1627:, p. 49.
1626:
1621:
1618:
1614:
1609:
1606:
1602:
1597:
1594:
1590:
1585:
1582:
1578:
1577:Taruskin 2010
1573:
1570:
1566:
1565:Taruskin 2010
1561:
1558:
1555:
1551:
1544:
1541:
1537:
1532:
1529:
1525:
1524:Sanders 2001b
1520:
1517:
1513:
1512:Sanders 2001a
1508:
1505:
1501:
1496:
1493:
1489:
1484:
1482:
1480:
1478:
1476:
1472:
1468:
1463:
1461:
1457:
1451:
1447:
1444:
1441:
1440:
1436:
1435:
1431:
1429:
1427:
1423:
1419:
1418:
1413:
1412:
1406:
1404:
1400:
1396:
1388:
1383:
1379:
1378:
1373:
1370:
1367:
1363:
1360:
1356:
1353:
1352:
1345:
1342:
1334:
1324:
1320:
1316:
1310:
1309:
1305:
1300:This section
1298:
1294:
1289:
1288:
1282:
1280:
1278:
1274:
1270:
1269:Thomas Morley
1266:
1264:
1260:
1256:
1252:
1248:
1244:
1240:
1236:
1232:
1228:
1224:
1221:, Beethoven,
1220:
1216:
1211:
1209:
1205:
1201:
1197:
1193:
1192:
1187:
1168:
1160:
1145:
1140:
1133:
1131:
1124:
1118:
1103:
1100:
1097:
1095:
1088:
1086:
1081:
1079:
1075:
1071:
1067:
1066:
1061:
1054:
1052:
1050:
1046:
1042:
1036:
1028:
1026:
1024:
1020:
1016:
1012:
1005:
1003:
981:
963:
955:
949:
933:
930:
929:
924:
916:
914:
912:
907:
905:
904:
899:
895:
894:
889:
885:
877:
875:
873:
869:
865:
864:Festina Lente
861:
857:
853:
849:
845:
841:
837:
833:
832:
827:
823:
818:
815:
811:
805:
797:
795:
793:
789:
785:
781:
777:
773:
767:
759:
757:
755:
751:
743:
741:
739:
731:
729:
727:
724:may become a
723:
706:
702:
699:
694:
687:
685:
683:
682:Frère Jacques
679:
675:
667:
665:
661:
659:
655:
647:
645:
643:
639:
635:
627:
625:
621:
620:
619:Contour Canon
616:
614:
610:
606:
602:
593:
591:
589:
585:
581:
577:
573:
569:
568:
559:
557:
555:
545:
529:
527:
523:
519:
518:Nicholas Cook
516:According to
510:
494:
492:
488:
484:
476:
474:
472:
468:
464:
463:orchestration
460:
456:
455:
445:
429:
427:
423:
415:
399:
397:
393:
386:
380:
364:
362:
358:
350:
344:
328:
326:
322:
318:
310:
304:
288:
286:
277:
261:
259:
255:
251:
250:
245:
244:
243:ars subtilior
238:
236:
232:
228:
223:
219:
215:
211:
206:
204:
200:
196:
192:
188:
184:
180:
176:
172:
168:
164:
160:
156:
152:
148:
140:
135:
133:
131:
126:
124:
123:Frère Jacques
120:
116:
112:
108:
104:
100:
96:
92:
88:
84:
80:
76:
72:
43:
37:
33:
19:
3641:
3627:Counterpoint
3567:
3547:
3512:
3497:
3485:, edited by
3482:
3473:
3458:
3451:
3448:Johnson, Tom
3439:
3432:
3425:
3418:
3409:
3384:
3381:Zaslaw, Neal
3364:
3347:
3330:
3321:
3317:
3292:
3288:
3263:
3259:
3234:
3230:
3208:(2): 22–49.
3205:
3199:
3182:
3165:
3161:
3144:
3127:
3109:
3093:. Retrieved
3088:
3080:
3067:. Retrieved
3062:
3056:
3037:. Retrieved
3032:
3018:
3002:
2987:John Tyrrell
2976:
2956:
2945:
2934:John Tyrrell
2923:
2914:
2902:
2887:
2865:
2849:
2846:Puzzle Canon
2829:
2820:
2802:
2799:Mann, Alfred
2782:
2771:
2762:
2745:
2741:
2721:
2697:
2672:
2652:
2644:John Tyrrell
2633:
2627:London: BBC.
2624:
2615:
2603:
2589:
2585:
2574:
2566:John Tyrrell
2555:
2538:
2526:
2522:
2511:
2475:
2466:
2449:
2424:
2415:
2406:
2387:
2370:
2358:. Retrieved
2346:
2340:
2316:
2293:, retrieved
2291:, 2017-01-11
2287:
2281:
2269:
2262:Barrett 2014
2253:
2246:Ciconia 1993
2241:
2234:Watkins 1986
2229:
2222:van Rij 2006
2217:
2205:
2193:
2186:Perkins 2001
2181:
2169:
2157:
2145:
2133:
2126:Johnson 1994
2121:
2109:
2097:
2085:
2073:
2061:
2049:
2037:
2025:
2018:Richter 1888
2003:Richter 1888
1998:
1981:
1974:Tangian 2010
1969:
1962:Tangian 2003
1942:
1930:
1918:
1906:
1894:
1882:
1855:
1843:
1831:
1819:
1812:Kennedy 1994
1790:
1778:
1751:
1739:
1727:
1715:
1703:
1691:
1679:
1665:
1659:
1652:Mellers 1983
1637:Hopkins 1981
1632:
1620:
1608:
1601:Fallows 1982
1596:
1584:
1572:
1560:
1543:
1536:Johnson 2001
1531:
1519:
1507:
1495:
1437:
1415:
1409:
1407:
1398:
1392:
1375:
1365:
1358:
1337:
1328:
1313:Please help
1301:
1267:
1217:, Ockeghem,
1212:
1207:
1203:
1189:
1182:
1134:Puzzle canon
1128:
1104:
1101:
1098:
1093:
1090:
1082:
1063:
1058:
1038:
1023:Anton Webern
1011:mirror canon
1008:
962:Mirror canon
956:Mirror canon
926:
920:
917:Double canon
908:
901:
891:
883:
881:
863:
859:
855:
847:
840:player piano
829:
819:
807:
791:
787:
779:
771:
769:
749:
747:
738:contrapuntal
735:
719:
701:De profundis
700:
671:
662:
657:
653:
651:
641:
637:
631:
622:
618:
617:
597:
588:Anton Webern
580:player piano
572:Double Canon
565:
563:
550:
515:
483:Romantic era
480:
477:Romantic era
471:counterpoint
452:
450:
420:
390:
354:
314:
282:
247:
241:
239:
234:
230:
207:
202:
190:
182:
178:
162:
144:
129:
127:
102:
94:
79:counterpoint
74:
68:
18:Puzzle canon
3581:Video canon
3560:Adobe Flash
3145:Mendelssohn
3095:January 16,
3069:January 16,
3039:January 16,
3017:. "Canon".
2904:Per Nørgård
2704:. Xlibris.
2258:Morley 1597
2198:Tatlow 1991
2176:, 173, 176.
2174:Morley 1597
2114:Hewett 1957
2090:Davies 1972
2078:Davies 1971
1732:Latham 1948
1708:Kerman 1996
1625:Hughes 1966
1589:Hoppin 1978
1500:Walker 2000
1467:Bridge 1881
1422:Steve Reich
1414:(1967) and
1411:Piano Phase
1331:August 2015
1239:Mendelssohn
1035:Table canon
1029:Table canon
878:Other types
822:Renaissance
774:(Latin for
750:al rovescio
726:minor third
722:major third
628:Terminology
163:fuga ligata
151:Renaissance
147:Middle Ages
145:During the
3716:Categories
3558:(requires
3065:(2): 64–92
2838:057111718X
2360:16 January
2295:2024-09-01
2200:, 15, 126.
2150:Leven 1948
2138:Jones 2009
2128:, 162–163.
1991:Amiot 2011
1935:Vuza 1991d
1923:Vuza 1991c
1911:Vuza 1991b
1899:Vuza 1991a
1836:Chafe 2000
1613:White 1976
1579:, 334–335.
1452:References
1251:Schoenberg
1186:J. S. Bach
1074:vibraphone
1041:retrograde
1002:media help
923:J. S. Bach
784:retrograde
776:crab canon
766:Crab canon
605:retrograde
317:J. S. Bach
235:subtilitas
87:imitations
3667:Imitation
3631:polyphony
3566:Software
2683:(cloth);
2653:Beethoven
2486:(cloth);
2435:(cloth);
2248:, 411n12.
2210:Todd 2003
2116:, passim.
2104:, passim.
1947:Vuza 1995
1720:Cook 1990
1696:Tusa 1996
1395:Lee Ru-ma
1302:does not
852:Arvo Pärt
392:Beethoven
387:Beethoven
351:Classical
191:rondellus
175:Latinised
173:"κανών",
111:intervals
3672:Ricercar
3538:Archived
3324:: 75–99.
3107:. 2010.
2997:2001b. "
2944:. 1888.
2886:. 1597.
2864:(1944).
2819:. 1978.
2671:. 2009.
2614:. 1978.
2602:. 1981.
2537:. 1982.
2502:(ebook).
2315:. 1855.
2068:, 38–39.
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