Secular Renaissance music: forms and functions
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Farnham, Surrey [u.a.]
Ashgate
2013
|
| Schriftenreihe: | A library of essays on Renaissance music
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXX, 658 S. Ill., Notenbeisp. 25 cm |
| ISBN: | 9780754629467 |
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Datensatz im Suchindex
| _version_ | 1804150466253160448 |
|---|---|
| adam_text | Contents
Acknowledgements
ix
Series Preface
xiii
Introduction
xvii
PART
1
SOURCES AND TRANSMISSION
1
James
Haar (2004),
The Vatican Manuscript Urb.
Lat.
1411:
An
Undervalued Source? , in Marco
Gozzi (ed.), Manoscritti di
polifonia nel quattrocento Europeo: atti del Convegno internazionale
di studi: Trento, Castello del Buonconsiglio,
18-19
ottobre
2002,
Trent:
Provincia autonoma di Trento, Soprintendenza per
і
beni
librari
e archivistici,
2004,
pp.
65-91. 3
2
David
Fallows
(1990),
Embellishment and
Urtext in
the
Fifteenth-Century Song Repertories ,
Basler Jahrbuch für historische
Musikpraxis, 14,
pp.
59-85. 31
3 Joshua Rifkin (1976), Pietrequin Bonnel and Ms. 2794
of the
Biblioteca Riccardiana ,
Journal
of the
American Musicological Society,
29,
pp.
284-96. 59
4 David
Fallows
(2001), Petrucci s
Canti
Volumes: Scope and Repertory ,
Basler Jahrbuch für Historische Musikpraxis, 25,
pp.
39-52. 73
5 Stanley Boorman (1995),
Composition - Copying:
Performance -
Re-creation: The
Matrix
of Stemmatic Problems for Early Music , in
Renato Borghi
and
Pietro Zappala
(eds), L
edizione critica tra testo
musicale e testo letterario, Lucca: Libreria Musicale Italiana,
pp.
45-55. 87
6
Donna G. Cardamone
(1999),
The Salon as Marketplace in the
1
550s:
Patrons and Collectors of Lasso s Secular Music , in Peter Bergquist
(ed.),
Orlando
di
Lasso Studies, Cambridge: Cambridge University Press,
pp.
64-90. 99
PARTII
GENRES
7
Martin Staehelin
( 1994),
The Constitution of the Fifteenth-Century German
Tenor Lied: Drafting the History of a Musical Genre , in John
Kmetz (ed.),
Music in the German Renaissance: Sources, Styles, and Contexts, Cambridge:
Cambridge University Press, pp.
174-81. 129
8
Honey Meconi
(1998),
Ockeghem and the Motet-Chanson in Fifteenth-Century
France , in Philippe Vendrix
(ed.),
Johannes Ockeghem:
Actes duXLe Colloque
international
d études
humanists, Tours,
3-8
février
1997,
Paris: Klincksieck,
pp.
381-402. 137
Secular
Renaissance
Music
9
Lawrence
F.
Bernstein
(1996),
Josquin s Chansons as Generic Paradigms ,
in Jessie Ann Owens and Anthony Cummings
(eds),
Music in Renaissance
Cities and Courts: Studies in Honor of Lewis
Lockwood,
Warren, MI:
Harmonie
Park Press, pp.
35-55. 159
10
William F. Prizer
(1986),
The Frottola and the Unwritten Tradition ,
Studi musicali,
15,
pp.
3-37. 181
11
James
Haar (1981),
The Early Madrigal: A Re-appraisal of Its Sources
and Its Character , in Iain Fenlon
(ed.),
Music in Medieval and Early Modern
Europe: Patronage, Sources and Texts, Cambridge: Cambridge University
Press, pp.
163-92. 217
12
Kate van
Orden (2006),
Chanson and Air , in James
Haar (ed.),
European
Music,
1520-1640, Woodbridge: Boydell
Press, pp.
193-224. 247
13 Ludwig Finscher (1994),
Lied and Madrigal,
1580-1600 ,
in John Kmetz
(ed.),
Music in the German Renaissance: Sources, Styles, and Contexts,
Cambridge: Cambridge University Press, pp.
182-92. 279
PART III COMPOSERS AND CONTEXTS
14
David Fallows
(1999),
Trained and immersed in all musical delights :
Towards a New Picture of Busnoys , in Paula Higgins
(ed.),
Antoine Busnoys:
Method, Meaning, and Context in Late Medieval Music, Oxford: Clarendon
Press, pp.
21-50. 293
15
Sean Gallagher
(2007),
Seigneur Leon s Papal Sword:
Ferrara,
Du
Fay, and
His Songs of the 1440s ,
Tijdschrift
van
de Koninklijke Vereniging voor
Nederlandse Muziekgeschiedenis,
57,
pp.
3-28. 323
16
Blake Wilson
(2006), Heinrich
Isaac among the Florentines , Journal of
Musicology,
23,
pp.
97-152. 349
17
Nino Pirrotta
(1984),
Willaert and the Canzone
Villanesca , in
Music and
Culture in Italy from the Middle Ages to the Baroque, Cambridge, MA:
Harvard University Press, pp.
175-97, 409-12. 405
18
Massimo
Ossi
(2008),
Monteverdi, Marenzio, and
Battista Guarini s Cruda
Amarilli ,
Music and Letters,
89,
pp.
311-36. 433
PART IV PERFORMERS AND PERFORMANCE ISSUES
19
Tess Knighton
(1992),
The
a
capella
Heresy in Spain: An Inquisition into
the Performance of the
Cancionero
Repertory , Early Music,
20,
pp.
560-81. 461
20
Howard Mayer Brown
(1972),
Psyche s Lament: Some Music for the
Medici Wedding in
1565 ,
in Laurence Berman
(ed.),
Words and Music:
The Scholar s View: A Medley of Problems and Solutions Compiled in Honor
of A. Tillman Merritt, Cambridge, MA: Department of Music, Harvard
University, pp.
1-27. 481
Secular
Renaissance
Music
21
Jeanice Brooks
(2001),
From Minstrel to Courtier
-
The Royal
Musique
de Chambre
and Courtly Ideals in Sixteenth-Century France ,
Musikalischer
Alltag im 15. und 16. Jahrhundert, Trossinger Jahrbuch für Renaissancemusik
1, Kassel: Bärenreiter,
pp.
39-49. 509
22 Anthony Newcomb (1986),
Courtesans,
Muses,
or Musicians?
Professional
Women Musicians in Sixteenth-Century Italy , in Jane Bowers and Judith
Tick
(eds),
Women Making Music: The Western Art Tradition,
1150-1950,
Urbana
and Chicago: University of Illinois Press, pp.
90-115. 521
PARTV INSTRUMENTAL MUSIC
23
John Ward
(1952),
The Use of Borrowed Material in loth-Century
Instrumental Music , Journal of the American Musicological Society,
5,
pp.
88-98. 549
24
Keith Polk
(1994),
Innovation in Instrumental Music
1450-1510:
The
Role of German Performers within European Culture , in John Kmetz
(ed.),
Music in the German Renaissance: Sources, Styles, and Contexts,
Cambridge: Cambridge University Press, pp.
202-14. 561
25
Warwick Edwards
(1981),
Songs without Words by Josquin and His
Contemporaries , in Iain Fenlon
(ed.),
Music in Medieval and Early
Modern Europe: Patronage, Sources and Texts, Cambridge: Cambridge
University Press, pp.
79-92. 575
PART VI MUSIC AND POETRY
26
Nino Pirrotta
(1984),
Ricercare
and Variations on
O Rosa
Bella , in
Music and Culture in Italy from the Middle Ages to the Baroque,
Cambridge, MA: Harvard University Press, pp.
145-58,401-06. 591
27
Martha Feldman
(1989),
The Composer as
Exegete:
Interpretations
of Petrarchan Syntax in the Venetian Madrigal ,
Studi musicali,
18,
pp.
203-38. 611
Name Index
647
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| spelling | Secular Renaissance music forms and functions ed. by Sean Gallagher Farnham, Surrey [u.a.] Ashgate 2013 XXX, 658 S. Ill., Notenbeisp. 25 cm txt rdacontent n rdamedia nc rdacarrier A library of essays on Renaissance music Geschichte 1400-1600 gnd rswk-swf Weltliche Musik (DE-588)4233831-1 gnd rswk-swf Instrumentalmusik (DE-588)4129951-6 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Weltliche Musik (DE-588)4233831-1 s Instrumentalmusik (DE-588)4129951-6 s Geschichte 1400-1600 z DE-604 Gallagher, Sean Sonstige oth Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026066945&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| subject_GND | (DE-588)4233831-1 (DE-588)4129951-6 (DE-588)4143413-4 |
| title | Secular Renaissance music forms and functions |
| title_auth | Secular Renaissance music forms and functions |
| title_exact_search | Secular Renaissance music forms and functions |
| title_full | Secular Renaissance music forms and functions ed. by Sean Gallagher |
| title_fullStr | Secular Renaissance music forms and functions ed. by Sean Gallagher |
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| title_short | Secular Renaissance music |
| title_sort | secular renaissance music forms and functions |
| title_sub | forms and functions |
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