The crucifixion in music: an analytical survey of settings of the crucifixus between 1680 and 1800
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| Format: | Buch |
| Sprache: | English |
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Lanham, Md. [u.a.]
Scarecrow Press
2006
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| Schriftenreihe: | Contextual Bach studies
1 |
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| Online-Zugang: | Table of contents only Inhaltsverzeichnis Inhaltsverzeichnis |
| Beschreibung: | Literturverz. S. 345-357 |
| Beschreibung: | XXIV, 371 S. zahlr. Notenbeisp. |
| ISBN: | 0810852756 9780810852754 |
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| 100 | 1 | |a Cameron, Jasmin Melissa |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a The crucifixion in music |b an analytical survey of settings of the crucifixus between 1680 and 1800 |c Jasmin Melissa Cameron |
| 264 | 1 | |a Lanham, Md. [u.a.] |b Scarecrow Press |c 2006 | |
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| 490 | 1 | |a Contextual Bach studies |v 1 | |
| 500 | |a Literturverz. S. 345-357 | ||
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Datensatz im Suchindex
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| adam_text | Contents
List of Figures and Tables ix
Reader s Note xv
Editor s Foreword Robin A. Leaver xvii
Preface xix
Acknowledgments xxiii
Part I: The Liturgy and Its Musical Implications
1 The Crucifixus: An Overview 3
Part II: Investigative Approaches
2 Music and Rhetoric: Representation of the Text as Conceived
by Theorists of the Eighteenth Century 15
3 Modern Analytical Views Relevant to the Subject and Their
Relationship to Rhetoric 32
Part III: Analysis
4 A Musical Overview 57
5 Analytical Results 71
Part IV: Case Studies
6 Adaptation of Preexisting Music for a Setting of the
Crucifixus: J. S. Bach: Crucifixus from Mass in B Minor
BWV 232 121
vii
viii Contents
7 Organization of Texture and Text: Caldara: Crucifixus a
16 Voci 143
8 A Semiotic Analysis: Bertoni: Crucifixus con Organo a 4 Voci 152
9 A Rhetorical Analysis: Zelenka: Crucifixus from Missa
Paschalis ZWV 7 161
10 Textual Influence: Vivaldi: Crucifixus from Credo RV 591 173
11 Constraints of Style: Lotti: Crucifixus Settings for Six and
Ten Voices 184
12 Orchestral Practice and Crucifixus Conventions: Mozart,
Haydn, and Beyond 192
Part V: Summary
13 The Crucifixus Tradition: Patterns of Influence and Modes
of Transmission 209
14 General Overview 222
Appendixes
A Crucifixus Settings 225
B Rhythmic Variants for Setting the Word Crucifixus 234
C A Comparison of Bach s Setting of the Crucifixus from the
Mass in B Minor BWV 232 and the First Part of the Opening
Chorus from Weinen, Klagen, Sorgen, Zagen BWV 12 241
D A. Caldara (8): Crucifixus a 16 Voci 254
E F. G. Bertoni (5): Crucifixus con Organo a 4 Voci 273
F A. Vivaldi (95): Crucifixus from Credo RV 591 278
G A. Lotti (59): Crucifixus a 6 284
H A. Lotti (60): Crucifixus a 10 295
I W. A. Mozart (84): Crucifixus from Kronungs Messe KV 317 314
J F. J. Haydn (39): Crucifixus from Missa in Tempore Belli 326
K D. Cimarosa (16): Messa a 4 con Stromenti 334
Bibliography 345
General Index 359
Musical Index 367
About the Author 371
Figures and Tables
FIGURES
Figure 2.1 Figures of Speech 24
Figure 2.2 Musical Figures of Repetition 25
Figure 3.1 Textual Influences 44
Figure 3.2 A Systematic Classification of Semantic Textual
Influences 46
Figure 3.3 Densities of Word Painting 48
Figure 3.4 Levels of Word Painting 49
Figure 4.1 Commonly Recognized Cross Arrangements in
Music 57
Figure 4.2 Crucifixus
G. A. Perti (87): Messa Canone a 3 (ca. 1700 1720) 59
Figure 4.3 Dactylic Rhythmic Patterns 60
Figure 4.4 etiam pro nobis, sub Pontio Pilato
J. D. Zelenka (98): Missa Circumcisionis (1724) 60
Figure 4.5 passus
A. Draghi (19): Missa a 9 (1684) 61
Figure 4.6 et sepultus est
F. J. Haydn (42): Theresienmesse (1799) 63
Figure 4.7 Examples of Composer Pupil Relationships 67
Figure 5.1 Example of a Short Crucifixus Setting
W. A. Mozart (78): Missa in C KV 220 (1775/1776) 75
Figure 5.2 Responsorial Technique
J. G. Albrechtsberger (2): Missa Anttuntiationis (1763) 80
Figure 5.3 Responsorial Technique
J. A. Hasse (32): Mass in D Minor (1751) 82
ix
x Figures and Tables
Figure 5.4 Use of Trombones
A. Caldara (9): Mass for 4 Voices (ca. 1720) 84
Figure 5.5 Use of Trombones
L. Hofmann (51): Missa in Honorem Sanctae Theresiae
in C (before 1760) 84
Figure 5.6 Use of Strings
A. Biffi (7): Credo in D Minor (ca. 1730) 87
Figure 5.7 Crucifixus etiam pro nobis Used as a Subject
A. Caldara (9): Crucifixus from Mass for 4 Voices (ca.
1720) 90
Figure 5.8 Musical Sign of the Cross and Other Related Figures
A. Draghi (19): Missa a 9 (1684) 92
G. A. Perti (88): Kyrie, Gloria and Credo (ca.
1700 1720) 92
A. Caldara (8): Crucifixus a 16 Voci (ca. 1730) 93
A. Caldara (12): Mass in A Major (1732) 93
J. D. Zelenka (97): Missa Votiva ZWV 18 (1739) 93
W. A. Mozart (70): Missa Brevis in G KV 49 (1768) 93
Figure 5.9 Excruciating Intervals for Crucifixus
A. Vivaldi (95): Credo RV 591 (ca. 1717) 94
J. D. Heinichen (49): Missa 11 (ca. 1720) 95
Figure 5.10 Example of Metabasis (Vogt) 97
Figure 5.11 Examples of Metabasis
J. D. Zelenka (100): Missa S. Caeciliae ZWV 1 (ca. 1711) 97
A. Salieri (91): Mass in D (1788) 98
Figure 5.12 Emphasis on the Penultimate Syllable of
Crucifixus
A. Caldara (11): Missa in spei Resurrectionis (ca. 1720) 98
Figure 5.13 Use of Sighing Intervals
F. Bertoni (5): Crucifixus con Organo a 4 Voci (ca. 1760) 100
A. Biffi (7): Credo in D Minor (ca. 1730) 100
A. Caldara (11): Missa in spei Resurrectionis (ca. 1720) 100
A. Caldara (12): Mass in A Major (1732) 101
F. J. Haydn (37): Missa Brevis Scti. Joannis de Deo (ca.
1775) 101
W. A. Mozart (77): Missa Brevis in D KV 194 (1774) 101
A. Salieri (91): Mass in D (1788) 102
F. Schmidt (94): Missa Sanctae Caeciliae (before 1746) 102
J. D. Zelenka (99): Missa Nativitatis Domini ZWV 8
(1726) 102
Figure 5.14 Longer Note Values for the Penultimate Syllables of
Narrative Phrases
A. Caldara (11): Misso in spei Resurrectionis (ca. 1720) 103
K. D. von Dittersdorf (18): Missa in C (before 1773) 103
Figures and Tables xi
Figure 5.15 Decoration of Penultimate Syllable in Narrative
Phrases
G. Abos (1): Messa a 4 Voci (ca. 1740) 104
J. A. Hasse (32): Mass in D Minor (1751) 104
F. J. Haydn (42): Theresienmesse (1799) 105
L. Leo (57): Messa Completa (ca. 1730 1740) 105
Figure 5.16 Use of Melisma for the Penultimate Syllable of
Narrative Phrases
A. Caldara (12): Mass in A Major (1732) 106
G. A. Perti (88): Kyrie, Gloria and Credo (ca.
1700 1720) 106
Figure 5.17 Relatively Long Note Values for passus
J. M. Haydn (48): Missa S. Francisci (1803) 107
Figure 5.18 Use of Dissonance for the Word passus
W. A. Mozart (82): Missa in C KV 259 (1775 1777) 108
W. A. Mozart (83): Missa in B Flat KV 175 (1777) 109
J. D. Zelenka (98): Missa Circumcisionis (1724) 109
J. D. Heinichen (50): Missa 12 (ca. 1720) 110
Figure 5.19 Bare Octaves for the Setting of the Word passus
W. A. Mozart (85): Missa in C KV 337 (1780) 110
Figure 5.20 Melismatic Setting of passus
L. Hofmann (51): Missa in Honorem Sanctae Theresiae
in C (before 1760) 111
A. Scarlatti (92): St. Cecilia Mass (1720) 112
Figure 5.21 Musical Descent to Express et sepultus est
G. A. Perti (87): Messa Canone a 3 (ca. 1700 1720) 113
G. A. Perti (88): Kyrie, Gloria and Credo (ca.
1700 1720) 114
A. Carl (15): Missa Solennis in C (before 1751) 115
Figure 6.1 Symmetry and Tonal Plan of the Credo 123
Figure 6.2 The Chiastic Plan of Cantata No. 4 123
Figure 6.3 Use of Lamento in Crucifixus Settings
G. P. Colonna (17): Messa Concertati a 5 Voci (ca. 1680
[?]) 125
J. D. Zelenka (100): Missa S. Caeciliae ZWV1 (ca. 1711) 126
Figure 6.4 A cappella Conclusions to Crucifixus Settings
A. Salieri (91): Mass mD (1788) 131
J. D. Zelenka (96): Missa Omnium Sanctorum ZWV 21
(1741) 134
Figure 6.5 Rhythmic Pattern for Opening Entries 136
Figure 6.6 Reappearance of the Opening Subject in Ykinen,
Klagen, Sorgen, Zagen 137
Figure 8.1 Semiotic Analysis: Paradigmatic Model 154
xii Figures and Tables
Figure 8.2 Distribution of Motives 159
Figure 9.1 J. D. Zelenka (101): Crucifixus from Missa Paschalis
ZWV 7 (1726) 162
Figure 10.1 Textual and Tonal Organization 176
Figure 11.1 G. Palestrina: Crucifixus from Missa Papae Marcelli 186
Figure 11.2 C. Monteverdi: Extracts from Crucifixus for 4 Voices 187
Figure 12.1 Crucifixus Motives in Beethoven s Missa Solemnis 202
Figure 12.2 Extract from Hummel s Setting of the Crucifixus from
Mass in B Flat op. 77 203
TABLES
Table 1.1 Identification of the Sources for the Text of the
Crucifixus in the Nicene Creed 5
Table 1.2 The Potential for Word Painting in the Text of the
Crucifixus 10
Table 2.1 The Structure of a Classical Oration 20
Table 3.1 Deep Structural Level and Its Equivalence 41
Table 4.1 Intervals Suitable for the Expression of Pain 58
Table 4.2 Et incarnatus, Crucifixus, and Et resurrexit: Texts and
Translations 65
Table 5.1 Length of Crucifixus Settings 73
Table 5.2 Combinations of Solo Voices Used in Crucifixus
Settings 78
Table 5.3 Crucifixus Settings Including Elements of
Responsorial Technique 79
Table 5.4 Crucifixus Settings with Trombone(s) 83
Table 5.5 Musical Sign of the Cross and Other Closely Related
Figures 92
Table 5.6 Excruciating Intervals for Crucifixus 96
Table 5.7 Use of Melisma for the Penultimate Syllable of
Narrative Phrases 106
Table 6.1 The Text for Weinett, Klagen, Sorgert, Zagen (Salomo
Franck) 122
Table 6.2 Comparison of Use of Texts 129
Table 6.3 Summary of Amendments and Additions 139
Table 7.1 Organization of Sections 144
Table 7.2 Incidence of Full Scoring within Sections 144
Table 7.3 Crucifixus Motives 147
Table 7.4 Organization of Key and Text in Caldara s Crucifixus
a 16 Voci 150
Table 9.1 Musical Rhetorical Theorists 170
Figures and Tables xiii
Table 10.1 Tonal Structure of Vivaldi s Setting of the Crucifixus 179
Table 12.1 Harmonic Structure of Mozart s Setting of the
Crucifixus from Kwnungs Messe KV 317 196
Table 12.2 Contrast between the Statements of passus in
Haydn s Setting of the Crucifixus from Missa in
Tempore Belli 199
Table 12.3 Organization of Text in Haydn s Setting of the
Crucifixus from Missa in Tempore Belli 199
Table 13.1 Survey of Overall Tonal Structure of Crucifixus
Settings 211
Table 13.2 More Common Musical Rhetorical Figures Used in
Crucifixus Settings between 1680 and 1800 217
|
| adam_txt |
Contents
List of Figures and Tables ix
Reader's Note xv
Editor's Foreword Robin A. Leaver xvii
Preface xix
Acknowledgments xxiii
Part I: The Liturgy and Its Musical Implications
1 The Crucifixus: An Overview 3
Part II: Investigative Approaches
2 Music and Rhetoric: Representation of the Text as Conceived
by Theorists of the Eighteenth Century 15
3 Modern Analytical Views Relevant to the Subject and Their
Relationship to Rhetoric 32
Part III: Analysis
4 A Musical Overview 57
5 Analytical Results 71
Part IV: Case Studies
6 Adaptation of Preexisting Music for a Setting of the
Crucifixus: J. S. Bach: Crucifixus from Mass in B Minor
BWV 232 121
vii
viii Contents
7 Organization of Texture and Text: Caldara: Crucifixus a
16 Voci 143
8 A Semiotic Analysis: Bertoni: Crucifixus con Organo a 4 Voci 152
9 A Rhetorical Analysis: Zelenka: Crucifixus from Missa
Paschalis ZWV 7 161
10 Textual Influence: Vivaldi: Crucifixus from Credo RV 591 173
11 Constraints of Style: Lotti: Crucifixus Settings for Six and
Ten Voices 184
12 Orchestral Practice and Crucifixus Conventions: Mozart,
Haydn, and Beyond 192
Part V: Summary
13 The Crucifixus Tradition: Patterns of Influence and Modes
of Transmission 209
14 General Overview 222
Appendixes
A Crucifixus Settings 225
B Rhythmic Variants for Setting the Word "Crucifixus" 234
C A Comparison of Bach's Setting of the Crucifixus from the
Mass in B Minor BWV 232 and the First Part of the Opening
Chorus from Weinen, Klagen, Sorgen, Zagen BWV 12 241
D A. Caldara (8): Crucifixus a 16 Voci 254
E F. G. Bertoni (5): Crucifixus con Organo a 4 Voci 273
F A. Vivaldi (95): Crucifixus from Credo RV 591 278
G A. Lotti (59): Crucifixus a 6 284
H A. Lotti (60): Crucifixus a 10 295
I W. A. Mozart (84): Crucifixus from Kronungs Messe KV 317 314
J F. J. Haydn (39): Crucifixus from Missa in Tempore Belli 326
K D. Cimarosa (16): Messa a 4 con Stromenti 334
Bibliography 345
General Index 359
Musical Index 367
About the Author 371
Figures and Tables
FIGURES
Figure 2.1 Figures of Speech 24
Figure 2.2 Musical Figures of Repetition 25
Figure 3.1 Textual Influences 44
Figure 3.2 A Systematic Classification of Semantic Textual
Influences 46
Figure 3.3 Densities of Word Painting 48
Figure 3.4 Levels of Word Painting 49
Figure 4.1 Commonly Recognized "Cross" Arrangements in
Music 57
Figure 4.2 "Crucifixus"
G. A. Perti (87): Messa Canone a 3 (ca. 1700 1720) 59
Figure 4.3 Dactylic Rhythmic Patterns 60
Figure 4.4 "etiam pro nobis," "sub Pontio Pilato"
J. D. Zelenka (98): Missa Circumcisionis (1724) 60
Figure 4.5 "passus"
A. Draghi (19): Missa a 9 (1684) 61
Figure 4.6 "et sepultus est"
F. J. Haydn (42): Theresienmesse (1799) 63
Figure 4.7 Examples of Composer Pupil Relationships 67
Figure 5.1 Example of a Short Crucifixus Setting
W. A. Mozart (78): Missa in C KV 220 (1775/1776) 75
Figure 5.2 Responsorial Technique
J. G. Albrechtsberger (2): Missa Anttuntiationis (1763) 80
Figure 5.3 Responsorial Technique
J. A. Hasse (32): Mass in D Minor (1751) 82
ix
x Figures and Tables
Figure 5.4 Use of Trombones
A. Caldara (9): Mass for 4 Voices (ca. 1720) 84
Figure 5.5 Use of Trombones
L. Hofmann (51): Missa in Honorem Sanctae Theresiae
in C (before 1760) 84
Figure 5.6 Use of Strings
A. Biffi (7): Credo in D Minor (ca. 1730) 87
Figure 5.7 "Crucifixus etiam pro nobis" Used as a Subject
A. Caldara (9): Crucifixus from Mass for 4 Voices (ca.
1720) 90
Figure 5.8 Musical Sign of the Cross and Other Related Figures
A. Draghi (19): Missa a 9 (1684) 92
G. A. Perti (88): Kyrie, Gloria and Credo (ca.
1700 1720) 92
A. Caldara (8): Crucifixus a 16 Voci (ca. 1730) 93
A. Caldara (12): Mass in A Major (1732) 93
J. D. Zelenka (97): Missa Votiva ZWV 18 (1739) 93
W. A. Mozart (70): Missa Brevis in G KV 49 (1768) 93
Figure 5.9 "Excruciating" Intervals for "Crucifixus"
A. Vivaldi (95): Credo RV 591 (ca. 1717) 94
J. D. Heinichen (49): Missa 11 (ca. 1720) 95
Figure 5.10 Example of Metabasis (Vogt) 97
Figure 5.11 Examples of Metabasis
J. D. Zelenka (100): Missa S. Caeciliae ZWV 1 (ca. 1711) 97
A. Salieri (91): Mass in D (1788) 98
Figure 5.12 Emphasis on the Penultimate Syllable of
"Crucifixus"
A. Caldara (11): Missa in spei Resurrectionis (ca. 1720) 98
Figure 5.13 Use of "Sighing" Intervals
F. Bertoni (5): Crucifixus con Organo a 4 Voci (ca. 1760) 100
A. Biffi (7): Credo in D Minor (ca. 1730) 100
A. Caldara (11): Missa in spei Resurrectionis (ca. 1720) 100
A. Caldara (12): Mass in A Major (1732) 101
F. J. Haydn (37): Missa Brevis Scti. Joannis de Deo (ca.
1775) 101
W. A. Mozart (77): Missa Brevis in D KV 194 (1774) 101
A. Salieri (91): Mass in D (1788) 102
F. Schmidt (94): Missa Sanctae Caeciliae (before 1746) 102
J. D. Zelenka (99): Missa Nativitatis Domini ZWV 8
(1726) 102
Figure 5.14 Longer Note Values for the Penultimate Syllables of
Narrative Phrases
A. Caldara (11): Misso in spei Resurrectionis (ca. 1720) 103
K. D. von Dittersdorf (18): Missa in C (before 1773) 103
Figures and Tables xi
Figure 5.15 Decoration of Penultimate Syllable in Narrative
Phrases
G. Abos (1): Messa a 4 Voci (ca. 1740) 104
J. A. Hasse (32): Mass in D Minor (1751) 104
F. J. Haydn (42): Theresienmesse (1799) 105
L. Leo (57): Messa Completa (ca. 1730 1740) 105
Figure 5.16 Use of Melisma for the Penultimate Syllable of
Narrative Phrases
A. Caldara (12): Mass in A Major (1732) 106
G. A. Perti (88): Kyrie, Gloria and Credo (ca.
1700 1720) 106
Figure 5.17 Relatively Long Note Values for "passus"
J. M. Haydn (48): Missa S. Francisci (1803) 107
Figure 5.18 Use of Dissonance for the Word "passus"
W. A. Mozart (82): Missa in C KV 259 (1775 1777) 108
W. A. Mozart (83): Missa in B Flat KV 175 (1777) 109
J. D. Zelenka (98): Missa Circumcisionis (1724) 109
J. D. Heinichen (50): Missa 12 (ca. 1720) 110
Figure 5.19 Bare Octaves for the Setting of the Word "passus"
W. A. Mozart (85): Missa in C KV 337 (1780) 110
Figure 5.20 Melismatic Setting of "passus"
L. Hofmann (51): Missa in Honorem Sanctae Theresiae
in C (before 1760) 111
A. Scarlatti (92): St. Cecilia Mass (1720) 112
Figure 5.21 Musical Descent to Express "et sepultus est"
G. A. Perti (87): Messa Canone a 3 (ca. 1700 1720) 113
G. A. Perti (88): Kyrie, Gloria and Credo (ca.
1700 1720) 114
A. Carl (15): Missa Solennis in C (before 1751) 115
Figure 6.1 Symmetry and Tonal Plan of the Credo 123
Figure 6.2 The Chiastic Plan of Cantata No. 4 123
Figure 6.3 Use of Lamento in Crucifixus Settings
G. P. Colonna (17): Messa Concertati a 5 Voci (ca. 1680
[?]) 125
J. D. Zelenka (100): Missa S. Caeciliae ZWV1 (ca. 1711) 126
Figure 6.4 A cappella Conclusions to Crucifixus Settings
A. Salieri (91): Mass mD (1788) 131
J. D. Zelenka (96): Missa Omnium Sanctorum ZWV 21
(1741) 134
Figure 6.5 Rhythmic Pattern for Opening Entries 136
Figure 6.6 Reappearance of the Opening Subject in Ykinen,
Klagen, Sorgen, Zagen ' 137
Figure 8.1 Semiotic Analysis: Paradigmatic Model 154
xii Figures and Tables
Figure 8.2 Distribution of Motives 159
Figure 9.1 J. D. Zelenka (101): Crucifixus from Missa Paschalis
ZWV 7 (1726) 162
Figure 10.1 Textual and Tonal Organization 176
Figure 11.1 G. Palestrina: Crucifixus from Missa Papae Marcelli 186
Figure 11.2 C. Monteverdi: Extracts from Crucifixus for 4 Voices 187
Figure 12.1 Crucifixus Motives in Beethoven's Missa Solemnis 202
Figure 12.2 Extract from Hummel's Setting of the Crucifixus from
Mass in B Flat op. 77 203
TABLES
Table 1.1 Identification of the Sources for the Text of the
Crucifixus in the Nicene Creed 5
Table 1.2 The Potential for Word Painting in the Text of the
Crucifixus 10
Table 2.1 The Structure of a Classical Oration 20
Table 3.1 "Deep" Structural Level and Its Equivalence 41
Table 4.1 Intervals Suitable for the Expression of Pain 58
Table 4.2 Et incarnatus, Crucifixus, and Et resurrexit: Texts and
Translations 65
Table 5.1 Length of Crucifixus Settings 73
Table 5.2 Combinations of Solo Voices Used in Crucifixus
Settings 78
Table 5.3 Crucifixus Settings Including Elements of
Responsorial Technique 79
Table 5.4 Crucifixus Settings with Trombone(s) 83
Table 5.5 Musical Sign of the Cross and Other Closely Related
Figures 92
Table 5.6 "Excruciating" Intervals for "Crucifixus" 96
Table 5.7 Use of Melisma for the Penultimate Syllable of
Narrative Phrases 106
Table 6.1 The Text for Weinett, Klagen, Sorgert, Zagen (Salomo
Franck) 122
Table 6.2 Comparison of Use of Texts 129
Table 6.3 Summary of Amendments and Additions 139
Table 7.1 Organization of Sections 144
Table 7.2 Incidence of Full Scoring within Sections 144
Table 7.3 Crucifixus Motives 147
Table 7.4 Organization of Key and Text in Caldara's Crucifixus
a 16 Voci 150
Table 9.1 Musical Rhetorical Theorists 170
Figures and Tables xiii
Table 10.1 Tonal Structure of Vivaldi's Setting of the Crucifixus 179
Table 12.1 Harmonic Structure of Mozart's Setting of the
Crucifixus from Kwnungs Messe KV 317 196
Table 12.2 Contrast between the Statements of "passus" in
Haydn's Setting of the Crucifixus from Missa in
Tempore Belli 199
Table 12.3 Organization of Text in Haydn's Setting of the
Crucifixus from Missa in Tempore Belli 199
Table 13.1 Survey of Overall Tonal Structure of Crucifixus
Settings 211
Table 13.2 More Common Musical Rhetorical Figures Used in
Crucifixus Settings between 1680 and 1800 217 |
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| author | Cameron, Jasmin Melissa |
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| author_role | aut |
| author_sort | Cameron, Jasmin Melissa |
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| dewey-full | 782.32/32 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 782 - Vocal music |
| dewey-raw | 782.32/32 |
| dewey-search | 782.32/32 |
| dewey-sort | 3782.32 232 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| era | Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1680-1800 gnd |
| era_facet | Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1680-1800 |
| format | Book |
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| illustrated | Illustrated |
| index_date | 2024-07-02T15:52:30Z |
| indexdate | 2024-07-09T20:45:17Z |
| institution | BVB |
| isbn | 0810852756 9780810852754 |
| language | English |
| lccn | 2005037859 |
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| publisher | Scarecrow Press |
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| series | Contextual Bach studies |
| series2 | Contextual Bach studies |
| spelling | Cameron, Jasmin Melissa Verfasser aut The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 Jasmin Melissa Cameron Lanham, Md. [u.a.] Scarecrow Press 2006 XXIV, 371 S. zahlr. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Contextual Bach studies 1 Literturverz. S. 345-357 Kreuzigung Jesu (DE-588)1059654644 gnd rswk-swf Credo (DE-588)4148364-9 gnd rswk-swf Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1680-1800 gnd rswk-swf Passion music 17th century History and criticism Passion music 18th century History and criticism Credo-Vertonung (DE-588)1115217186 gnd rswk-swf Credo (DE-588)4148364-9 u Kreuzigung Jesu (DE-588)1059654644 u Credo-Vertonung (DE-588)1115217186 s Geschichte 1680-1800 z DE-604 Contextual Bach studies 1 (DE-604)BV022238426 1 http://www.loc.gov/catdir/toc/ecip066/2005037859.html Table of contents only http://digitool.hbz-nrw.de:1801/webclient/DeliveryManager?pid=1938110&custom_att_2=simple_viewer Inhaltsverzeichnis HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015028181&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Cameron, Jasmin Melissa The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 Contextual Bach studies Kreuzigung Jesu (DE-588)1059654644 gnd Credo (DE-588)4148364-9 gnd Passion music 17th century History and criticism Passion music 18th century History and criticism Credo-Vertonung (DE-588)1115217186 gnd |
| subject_GND | (DE-588)1059654644 (DE-588)4148364-9 (DE-588)1115217186 |
| title | The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 |
| title_auth | The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 |
| title_exact_search | The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 |
| title_exact_search_txtP | The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 |
| title_full | The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 Jasmin Melissa Cameron |
| title_fullStr | The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 Jasmin Melissa Cameron |
| title_full_unstemmed | The crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 Jasmin Melissa Cameron |
| title_short | The crucifixion in music |
| title_sort | the crucifixion in music an analytical survey of settings of the crucifixus between 1680 and 1800 |
| title_sub | an analytical survey of settings of the crucifixus between 1680 and 1800 |
| topic | Kreuzigung Jesu (DE-588)1059654644 gnd Credo (DE-588)4148364-9 gnd Passion music 17th century History and criticism Passion music 18th century History and criticism Credo-Vertonung (DE-588)1115217186 gnd |
| topic_facet | Kreuzigung Jesu Credo Passion music 17th century History and criticism Passion music 18th century History and criticism Credo-Vertonung |
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| volume_link | (DE-604)BV022238426 |
| work_keys_str_mv | AT cameronjasminmelissa thecrucifixioninmusicananalyticalsurveyofsettingsofthecrucifixusbetween1680and1800 |
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