His revelatory insights into the origins and details of Baroque style have set standards respected and imitated by generations of scholars. Another beauty of the book is the clarity and accessibility of his ideas. Performers, amateurs, and scholars will all find many interesting ideas in this book. Anyone who reads music and has an interest in Baroque music will find this book to be well-written and of immense value.
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The beginnings of the concerto style : Gabrieli ; The monody : Peri and Caccini ; Transformation of the madrigal : Monteverdi ; The influence of the dance on vocal music ; Emancipation of instrumental music : Frescobaldi ; The rise of the opera : Monteverdi ; Tradition and progress in sacred music -- Chapter 3 : Early and middle Baroque in the northern countries.
The culmination of late Baroque music in Italy ; The rise of tonality ; Concerto grosso and solo concerto ; Ensemble sonata and solo sonata ; Opera seria and opera buffa : cantata and sacred music ; Late Baroque and Rococo style in France ; Ensemble and clavecin music ; Opera and cantata in France -- Chapter 8 : Fusion of national styles : Bach. The state of secular vocal music in Germany before Handel ; Handel : German apprentice period ; Italian journeyman period ; English master period : operas, oratorios, instrumental music ; Bach and Handel, a comparison -- Chapter 10 : Form in Baroque music.
Formal principles and formal schemes ; Style and form ; Audible and inaudible order -- Chapter 11 : Musical thought of the Baroque era. Code of performance : composer and performer ; Theory and practice of composition ; Musical speculation -- Chapter 12 : Sociology of Baroque music. Courtly musical institutions of state and church : private patronage ; Civic musical institutions : collective patronage ; Social and economic aspects of music and musicians This history of the music of the Baroque Era in Europe--roughly, from the 17th century through the first half of the 18th--covers the entire field, from Monteverdi and Schutz at its inception to the great works of Bach and Handel.
The Netherlands school and its English background ; English antecedents : the abstract instrumental style ; The Netherlands: Sweelinck ; Germany and Austria in the 17th century ; Chorale and devotional song ; Chorale motet and choral concertato : Schein ; The dramatic concertato : Schutz ; Continuo Lied, opera and oratorio ; Instrumental music : Scheidt, Froberger, and Biber -- Chapter 4 : Italian music of the middle Baroque.
The ballet de cour ; French reactions to Italian opera ; Comedie-ballet and the tragedie lyrique : Lully ; Cantata, oratorio, and church music ; Lute miniatures and keyboard music : Gaultier and Chambonnieres ; Music in the Iberian peninsula, New Spain, and Colonial America -- Chapter 6 : English music during the commonwealth and restoration.
The state of instrumental music in Germany before Bach ; The state of protestant church music before Bach ; Bach : the early period ; Bach the organist : Weimar ; Bach the mentor : Cothen ; Bach the cantor : Lepzig ; Bach, the past master -- Chapter 9 : Coordination of national styles : Handel. Courtly musical institutions of state and church : private patronage ; Civic musical institutions : collective patronage ; Social and economic aspects of music and musicians Notes some pages are tight binding.
Music in the baroque era : from Monteverdi to Bach
Music in the Baroque Era
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