@article{
 title = {Zentrale und periphere Züge in der Dissonanztechnik Machauts},
 type = {article},
 year = {1982},
 keywords = {63: Theory,Guillaume de Machaut -- works -- use of dissonanc,analysis,and composition -- Harmony,consonance and dissonance -- Guillaume de Machaut,counterpoint,counterpoint -- Guillaume de Machaut -- use of di,voice-leading},
 volume = {3},
 month = {1},
 id = {2486d6e0-3826-3150-a6eb-e1e7d2b37622},
 created = {2010-10-13T21:12:06.000Z},
 file_attached = {false},
 profile_id = {992ba1bc-1967-3b6a-a728-baa12466e495},
 group_id = {c0eb349a-6e84-3b18-a0e1-cfb072910808},
 last_modified = {2010-10-13T21:20:56.000Z},
 read = {false},
 starred = {false},
 authored = {false},
 confirmed = {true},
 hidden = {false},
 citation_key = {dahlhaus_zentrale_1982},
 source_type = {article},
 abstract = {A chain of syncopated dissonances in Machaut's ballade no. 1 (S'amours ne fait), consistent with the rules of Palestrina counterpoint, may be considered to be a central phenomenon within the composer's dissonance technique, even though it is an exception when it first appears in this period. A historical and theoretical commentary lends plausibility to the hypothesis.},
 bibtype = {article},
 author = {Dahlhaus, Carl (Author)},
 journal = {Forum musicologicum}
}

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