A history of the harpsichord:
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| Main Author: | |
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| Format: | Book |
| Language: | English |
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Bloomington and Indianapolis
Indiana University Press
[2016]
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | XVI, 557 Seiten, 16 ungezählte Seiten Bildtafeln Illustrationen |
| ISBN: | 9780253023476 |
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| 245 | 1 | 0 | |a A history of the harpsichord |c Edward L. Kottick |
| 264 | 1 | |a Bloomington and Indianapolis |b Indiana University Press |c [2016] | |
| 264 | 4 | |c © 2003 | |
| 300 | |a XVI, 557 Seiten, 16 ungezählte Seiten Bildtafeln |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
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| 650 | 4 | |a Clavecin - Histoire | |
| 650 | 7 | |a Klavecimbels |2 gtt | |
| 650 | 4 | |a Virginal - Histoire | |
| 650 | 4 | |a Épinette (Instrument de musique) - Histoire | |
| 650 | 4 | |a Geschichte | |
| 650 | 4 | |a Harpsichord |x History | |
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Record in the Search Index
| _version_ | 1804176196019159040 |
|---|---|
| adam_text | Contents
Plates and Illustrations / xi Acknowledgments / xv
Introduction 1
PART I THE FOURTEENTH AND 7
FIFTEENTH CENTURIES
1 From Psaltery and Monochord to Harpsichord and Virginal 9
Hermann Pom, and the clavickmbalum 10
The psaltery and the monochord i i
Iconographical evidence of the harpsichord 13
A digression on pitch and scale 15
The manuscript 01 Henri Arnaut 18
Clavichords and virginals 21
The Royal College of Music clavicytherium 22
Summing up 26
PART II THE SIXTEENTH CENTURY 27
2 The Emergence of the Northern Harpsichord 29
Archival records 30
Germany and the Muller harpsichord 32
Antwerp and the virginals of Iof:s Rarest 37
France 44
England and the Theewes claviorganum 46
Summing up 50
3 Antwerp Harpsichord Building between Rarest and Ruckers 53
Antwerp 54
The surviving virginals 55
A virginal by Hans Ruckers 60
The surviving grands 62
Summing up 63
4 Early Italian Style 66
The earliest Italian harpsichords 68
Harpsichords, Italian style 70
7 6
77
79
82
94
97
9«
i o i
103
104
107
1 1 1
1 *5
1 20
1 21
1 24
128
130
132
!33
*35
142
144
L51
*54
156
157
158
*59
160
161
163
171
*74
176
177
179
190
191
*94
*95
*99
VIII
VlRGINALS ANI) SPINETS
Italian scales
Decoration
Venice and thk tradition of opui.knck
Milan
Naples and ki.skwhkrk
Sl MMINL LI*
PART III THE SEVENTEENTH CENTURY
5 The Ruckers-Couchet Dynasty
Thk Ri ok! rs-Coi cult family
VlRCilNALS
Singee-manual harpsichords
Do I B LE- M A Ni; AI. H A R PS I ( a ior ds
The harpsk;iiord/vir(;ina!, combination
The late Couchet instruments
The decora lion of harpsichords and viroinai.s
The Flemish harpsichord as a cultural icon
Si;mminc up
6 Later Italian Style
New developments in the seventeenth century
Rom e
Florence
Naples and elsewhere
Anonymous instruments
Summing up
7 Seventeenth-Century International Style
Characteristics of International style
Regional distinctions
Summing; up
8 France
Virginals and spinets
Harpsichord making in Paris
Lyons and elsewhere
Summing up
9 Germany and Austria
Virginals and spinets
Harpsichords
Austria
Summing up
10 England
Virginals
Bentside spinets
Contents
Harpsichords 202
Summing up 203
PART IV THE EIGHTEENTH CENTURY 2o7
11 The Decline of the Italian Harpsichord 209
Florence 210
Rome and elsewhere 226
Summing up 231
12 The Iberian Peninsula 233
Spain 234
Maria Barbara’s inventory 235
Later Spanish instruments 239
Portugal 242
The Portuguese piano tradition 244
Summing up 245
13 Harpsichord Building in France up to the Revolution 247
Ra va lemen t 248
The development of the classic French harpsichord 257
The Ruckers-inspired French double 260
Decoration 263
The Blanghet-Taskin dynasty 266
Other Paris builders 272
Lyons and elsewhere 275
The late French harpsichord 277
Summing up 280
14 The Low Countries in the Post-Ruckers Era 283
Antwerp 284
Tournai 290
Elsewhere 296
Summing up 298
15 Germany, Scandinavia, Austria, and Switzerland 299
Rivals of the harpsichord 301
Hamburg 304
Scandinavia 318
Berlin 322
Hannover and Brunswick 326
Gross Breitenbach 329
Dresden 331
Freiberg 334
Augsburg 338
Austria 342
Switzerland 348
Summing up 350
16 Great Britain and America 353
Harpsichord building from 1700 to 1725 354
Contents ix
358
359
3^7
371
377
380
383
386
389
39J
394
39(*
397
400
4°3
4°5
407
4°9
4M
418
425
429
431
435
437
445
448
450
451
454
458
465
468
x
Hermann Tabel
Shudi, Kirkman, and their competitors
The Ruckers-inspired English harpsichord
Developments after 1760
Bentside spine i s
Scotland and Ireland
America
Summing up
PART V THE NINETEENTH AND
TWENTIETH CENTURIES
17 The Harpsichord Hibernates
Some builders
The harpsichord played and preserved
Historicism and antiqijarianism
Collectors and collections
Leopoldo Fkanc:iolini and the collectors
Summinc; UP
18 The Harpsichord Revival from the Paris
Exposition to World War II
The Paris Exposition of 1889 and French builders
The “Bach” harpsichord and German builders
Arnold Dolmetsch and the English harpsichord
Wanda Landowska and her Pleyel
America and John Challis
Summing up
19 The Modern Harpsichord
Historically informed builders: Gough, Hubbard, and Dowd
Authenticity with stability: Herz, Schütze,
and Rutkowski and Robinette
Built to last: de Blaise, Morley, and Sabathil
The Serien builders: Ammer, Neupert, Wittmayer, and Sperrhake
New directions: John Challis and John Paul
The electronic harpsichord: Wittmayer, Baldwin,
and the electronic keyboard
Kits
Summing up
20 Into the Future
Glossary/ 471 Notes / 475 Bibliography/ 523 Index/ 541
CONTENTS
Plates and Illustrations
PLATES
(following page 206)
1. Ca. 14 So Royal College of Music
c Iavicythorium.
2. Apollo Crowning the Singrr Marc Antonio
Pasqualini by Sac chi, ca. 1640.
3. Anonymous sixteenth-century octave
spinet.
4. 1568 Duke of (Sieves virginal.
5a. 1 580 Martin van der Biest mother and
child spinett virginal (child in case).
5b. 1 580 Martin van der Biest mother and
child spinett virginal (child out of case).
6. 1581 Hans Ruckers mother and child
musclar virginal.
7. 1 560 Guido Trasuntino harpsichord.
8. 1577 Annibale dei Rossi virginal.
9. 1666 Girolamo Zenti inner-outer harpsichord.
10. Michelle Todini’s “golden harpsichord.”
11. 1681 Vaudry harpsichord.
12.1678 or 1679 Gilbert Desruisseaux
harpsichord.
13. 1619 Johann Mayer harpsichord.
14. Lid painting of the 1666 Adam
Leversidge virginal.
15. 1697 Carlo Grimaldi harpsichord.
16. 1785 Joachim José Antunes harpsichord.
17* 1 77° Pascal Taskin harpsichord.
18. Soundboard painting of the ca. 1736
Henri Hemsch harpsichord.
19. 1733 François-Etienne Blanchet
harpsichord.
20. Rose and wreath of the 1769 Pascal
Taskin harpsichord.
2 i. 1736 Henri Hemsch harpsichord.
22. 1716 Pierre Donzelague harpsichord.
23. 1702-4 Michael Mietke harpsichord,
finished by Gerard Dagly.
I LLUSTR AT IONS
1-1. The Fountain of Life, school of van Eyck,
early fifteenth century. 12
1-2. Guido of Arezzo and his pupil Theobaldus
at the monochord. 13
1-3. Keyed psaltery in an anonymous
ca. 1450 French Book of Hours. 4
1-4. Carving of a harpsichord from the
Cathedral at Mindcn, 1425. 1 5
1-5. Arnaut’s plan of a harpsichord, ca. 1440. 19
]-6. Woodcut of a harpsichord f rom the
Weimarer Wunderhuch. 20
1-7. Adoration of the Magi by Adriaen
van Wesel, 1475-77. 21
1-8. Virginal from Virdung’s
Musirá gelutscht, 1511. 23
1-9. The soundboard end of a large,
anonymous early-seventeenth-century
Italian clavichord. 23
1- 10. Clavicytherium from Mercennc’s 1636
Harmonie universelle. 24
2- ia. 1 537 Müller harpsichord. 34
2-1 b. Jacks of the 1 537 Muller harpsichord. 35
2-2. 1548 Rarest virginal. 38
2-3. 1550 Rarest virginal in its outer case. 39
2-4. Paper or parchment rose of the
1548 Rarest virginal. 39
2-5. C/E and GG/BB short octaves. 40
2-6a. Excerpt of a Pavane by Peter Philips. 41
2-6b. Excerpt from Philips’s Pavane. 41
2-7. Key coverings of the 1550
Rarest virginal. 42
2-8. Girl at a Spinel by Catharina
de Hemessen, 1548. 43
2-9. Virginal from Jacques Cellier’s
Fantasie sur orgue ou espinette faicte par
Monsieur Costelley, 1583—87. 45
2-10. Title page of Parthenia. 48
2- n. 1579 Lodewijk Theewes combined
harpsichord and organ. 49
3- 1. Engraving Música by
Cornelius Cort, 1565. 57
3-2. Rose from the ca. 1578 Hans Bos
spinett virginal. 58
3-3. Ca. 1580Johannes Grouwels virginal. 59
3- 4. Cross section of the Hans Ruckers 1581
mother and child muselar virginal. 61
4- 1 a. Intarsia of a harpsichord from
ca. 1520, Genoa, San Lorenzo Cathedral. 69
4-lb. Intarsia of a virginal in the Stanza
della Segnatura in the Vatican,
early sixteenth century. 69
4-2. Section through the side of a typical 5-7. Cross section of a Ruckers single-manual
Italian harpsichord. 72 harpsichord. 116
4-3. Cross section from a sixteenth-century 5-8. Galliarda by William Byrd. 1 ll
Italian harpsichord. 78 5-9. 1659 Gomniar van Everbroeck
4-4a. Moorish dome. 74 single-manual harpsichord. 1 18
4-4I3. Rose from anonymous 1540 virginal 5-10. Set of nonaligned keyboards. 1 *9
owned bv Eleanor d’Esie. 74 5-1 1. 1638 Ioannes Ruckers harpsichord. 1 20
4~5a. Geometric rose from a sixteenth-centur y 5-1 2. Arrangement of the strings on the
Flemish virginal. 74 Ek/G# transposing plates in the normal
4-ijb. Rose from a 1666 Zenti harpsichord. 74 Ruckers double-manual harpsichord. 1 2 )
4~()a. Rose f rom the 1 606 Guido Trasuntino 5-13. Undated Ioannes Ruckers harpsichord
harpsichord. 75 virginal combination. 123
4-iib. Upside-down wedding-cake rose. 75 5-14. 161 5 Andreas Ruckers double-manual
4-7. Anonymous ca. 1580 harpsichord. 76 harpsichord. 126
4-8. Clavichord with pedals, drawn in the 5-1 5. 1637 Andreas Ruckers single-manual
fifteenth century. 7« harpsichord. 127
4*()a. 1574 Joseph Salodiensis virginal. 80 6-1. Anonymous seventeenth-century Italian
4-()b. Outer case of the 1^74 Salodiensis clavicyt heiium. 1 34
virginal. 8i 6-2. Anonymous seventeenth-century false
4-10. Nameboard of a 1593 Giovanni inner-outer Italian harpsichord. 135
Cclestini virginal. 84 6-3. 1625 Valerius Peres harpsichord. 1 36
4-11. 1574 Giovanni Antonio Baifo 6-4. Keyboard of the 1619 Giovanni Battista
harpsichord. «5 Boni harpsichord. i37
4-12. 1531 Alessandro Trasuntino 6-5. 1658 Zenti harpsichord. 138
inner-outer harpsichord. 86 6-6. 1631 Girolamo Zenti bentside spinet. 139
4-13. Keyboard of the 1606 Guido 6-7. 1679 Giovanni Battista Giusti 2x8 ,
Trasuntino archicembalo. 89 i X4 harpsichord. 140
4-14. 1561 Franciscus Patavinus 6-8. Michelle Todini’s gallery of remotely
harpsichord. 9° controlled instruments. 141
4-15. 1533 Dominicus Pisaurensis 6-9. 1586 Francesco Poggio inner-outer
harpsichord. 91 virginal. M3
4-16. 1543 Dominicus Pisaurensis octave 6-10. 1612 Vincentius Pratensis
harpsichord. 92 harpsichord. 144
4-17. 1543 Dominicus Pisaurensis 6-1 1. 1612 “Nicolaus de Quoco”
clavichord. 92 harpsichord. H5
4-18. 1566 Dominicus Venetus virginal. 93 6-12. 1701 Giuseppe Mondini 3x8
4-19. “S-shape” keys. 93 harpsichord. 146
4-20. Anonymous ca. 1570 instrument 6-13. 1627 Stefano Bolcioni three-manual
known as “Queen Elizabeth’s virginal.” 95 harpsichord. 147
4-21. Cheek piece of Rossi’s x 555 virginal. 95 6-14. 1598 Alessandro Fabri virginal. 148
4-22. Rose of Rossi’s 1577 virginal. 96 6-15. 1663 Honofrio Guarracino virginal. 149
4-23. Anonymous 1540 virginal made for 6-16a. 1694 Guarracino octave virginal. 150
Eleanor d’Este. 96 6-16b. Undated anonymous octave virginal. 150
4-24. Anonymous 1550 Neapolitan 56-17a. 1677 Pietro Faby harpsichord. i52
harpsichord. 98 6-17b. Keyboard and nameboard of the
5-1. Lady at the Virginal by Jan Vermeer, 1677 Faby harpsichord. 153
ca. 1670. 108 6-17c. Jackrail and wrestplank of the
5-2. Family Group by Giles von Tilborgh, 1677 Faby harpsichord. 153
1625-28. 109 8-1. Mersenne’s octave virginal. 162
5-3 a. Ca. 1614 Ioannes Ruckers muselar 8-2. 1681 Louis Denis bentside spinet. 164
virginal. 112 8-3. Mersenne’s single-manual clavessin. 169
5-3U 1598 Hans and/or Ioannes Ruckers 8-4. Cross section of a pair of French
spinett virginal. 113 keyboards. 170
5-4. 1613 Andreas Ruckers 4-voet (quint) 8-5. Soundboard of the 1681 Vaudry
spinett virginal. 114 harpsichord. 171
5-5. 1639 Andreas Ruckers motherless 8-6. Gilded rose of the 1678 or 1679
child virginal. 114 Gilbert Desruisseaux harpsichord. 172
5-6. Echo piece by Jan Pieterszoon 8-7. Rose of the 1679 Vincent Tibaut
Sweelinck. 116 harpsichord. 173
XI
Plates and Illustrations
8- 8. Keywell of the 1679 Vincent Tibaut
harpsichord.
9- 1. Octave virginal, polygonal virginal, and
oblong virginal from Praetorius’s
Syntagma musicum.
9-2. Anonymous seventeenth-century
German virginal.
9-^a. Ca. 1(340 Samuel Biderman
automatic spinet.
9-3b. Keyboard, pinned barrel, and
clockwork of the ca. 1640 Biderman
automatic spinet.
9-4. 1587 Anton Meidting combined octave
virginal-regal.
9-5. German harpsichord from Praetorius’s
•S v n tagma must aim.
9-ha. Soundboard barring of an
anonymous seventeenth-century
German harpsichord.
9 ()b. Anonymous seventeenth-century
German harpsichord.
9-bc. Double rose of the anonymous
seventeenth-century German harpsichord.
9-7. Anonymous seventeenth-century
German harpsichord.
9-8. Anonymous ca. 1 620 clavicytherium.
9-9. Clavicytherium from Praetorius’s
Syntagma musicum,.
9- 10. 1639 Valentin Zeiss claviorganum.
J 0-1. 1642 Thomas White virginal.
10- 2. 1668 Stephen Keene virginal.
10- 3. 1 700 Stephen Keene bentside spinet.
11- 1 a. 1693 Bartolomeo Cristofori 2x8
virginal.
1 l-ib. Keyboard to the 1693 Cristofori
virginal.
11-2. 1720 Bartolomeo Cristofori spinettone
de teatro.
11-3. 1726 Bartolomeo Cristofori
harpsichord.
11-4. 1720 Bartolomeo Cristofori piano.
11-5. Hammer from 1726 Cristofori piano.
11-6. Schematic cross sections of Cristofori’s
harpsichords and pianos.
11-7. 1710 Petrus Orlandus octave spinet.
1 i-8a. Carlo Grimaldi folding harpsichord.
1 i-8b. Carlo Grimaldi folding harpsichord.
11-9. Controtasti of 1725 Giuseppe Maria
Goccini harpsichord.
11-10. 1753 Antonio Scotti harpsichord.
11- 11. 1 797 Aelpidio Gregori harpsichord.
12- 1. 1625 Raymundo Truchado Geigenwerk.
12-2. Double-ben tside anonymous Spanish
(?) harpsichord.
12-3. Double-ben tside anonymous Spanish
(?) harpsichord.
12- 4. 1767 Manuel An tunes piano.
13- 1. 1627 Ioannes Ruckers harpsichord.
13-2. 1646 Ioannes Couchet harpsichord.
13-3. 1680 Couchet/ 1750 Blanchet / 1781
174 Taskin harpsichord.
13-4. Anonymous “ 1573 Hans Ruckers”
harpsichord.
178 13-5. Ca. 1749 “Hans Ruckers 1 590”
Jean-Claude Goujon harpsichord.
179 13-6. 1610 Ioannes Ruckers muselar
mother and child.
1 80 13-7. 1 700— 1 704 Jean Marius clavecin brisé.
13-8a. 1646 Andreas Ruckers/ 1 756
Blanchet (?)/ 1 780 Taskin harpsichord.
181 13-8I3. Detail of the vernis martin decoration
of the 1646 Andreas Ruckers/ 1 756
1 81 Blanchet (?) / 1 780 Taskin harpsichord.
1 3~8c. Detail of the lid painting of the
182 1646 Andreas Ruckers/ 1756 Blanchet
(?) / 1780 Taskin harpsichord.
13-9. 1746 Francois-Ktienne Blanchet
184 harpsichord.
1 3-1 o. 1 769 Pascal Taskin harpsichord.
185 13-11.1785 Jacques Germain harpsichord.
13- 12. 1 775 Joseph Col I esse harpsichord.
1 86 1 3-13. Ca. 1 770 Johann Heinrich
Silbermann bentside spinet.
187 13-14. GenouiUeres of the 1646 Andreas
1 88 Ruckers/ 1 756 Blanchet (?) / 1 780 Taskin
harpsichord.
1 89 14-1. Section through Johann Daniel
1 91 Dtilcken’s dogleg action.
196 14-2. 1745 Johann Daniel Dulcken
197 harpsichord.
201 14-3. 1 763 Jacob van den Elsche
harpsichord.
213 14-4. 1779 Johann Peter Bull harpsichord.
14- 5. 1 750 Albert Delin hexagonal octave
214 virginal.
14-6. 1765 Albert Delin bentside spinet.
2 15 14“7* 1 750 Albert Delin harpsichord.
14- 8. Delin’s clavicytherium action.
2 1 7 14-9- 1760 Delin clavicytherium.
218 15-1.171 o Johann Christoph Fleischer
219 harpsichord.
15- 2.1716 Carl Conrad Fleischer
221 harpsichord.
227 15-3- 1720 Carl Conrad Fleischer
228 harpsichord.
228 15~4a. Rose of the 171 o Johann Christoph
Fleischer harpsichord.
2 29 15~4b. Rose of the 1716 Carl Conrad
230 Fleischer harpsichord.
231 15-5. 1723 Hieronymus Albrecht Hass
236 harpsichord.
15-6. Internal case structure and bottom
240 of the soundboard of the 1760 Johann
Adolph Hass harpsichord.
241 15-7. 1760—61 Johann Adolph Hass
244 harpsichord.
251 15-8. 1728 Christian Zell harpsichord.
252 15-9. 1756Johan Broman harpsichord.
Plates and Illustrations
2 58
2 54
2 5.5
256
258
264
265
265
269
271
2 / 4
276
277
2 79
286
287
288
289
291
292
293
294
295
306
3 7
308
309
309
310
313
3X4
3X7
322
Xlll
15-10. 1738 Christian Vater harpsichord. 327
15-11. Ca. 1700 harpsichord attributed to
Johann Heinrich Harrass. 330
15-12. 1782 Karl August Grâbner
harpsichord. 333
15 13- 174° harpsichord, likely by
Gottfried Silbermann. 33b
15-14. Silbermann rose design. 33b
15-15. “Mystery” harpsichord with
Silbermann-like rose. 337
15-16. 1 777 Johann Andreas Stein vis-à-vis
combination harpsichord-piano. 340
15-1 7. 1 783 Johann Andreas Stein vis-à-vis
combination harpsichord-piano. 341
15-18. Viennese “multiple-broken”
short octave. 345
15-19. 1747 Johann Christoph Pantzner
harpsichord. 34 b
15-20. 1755 Johann Leydecker harpsichord. 347
15- 21. Anonymous late-seventeenth-centurv
Viennese octave spinet. 347
16- 1. 1700 Joseph Tisseran harpsichord. 355
16-2. Ca. 1720 William Smith harpsichord. 356
16-3. 1 725 Thomas Hitchcock
double-manual harpsichord. 358
16-4. Brass lid and flap hinges of the
1738J°seph Mahoon double-manual
harpsichord. 369
16-5. 1772 Shudi and Broadwood
double-manual harpsichord. 370
16-6. 1782 Shudi and Broadwood
double-manual harpsichord. 371
16-7. 1761 Jacob Kirkman harpsichord. 372
16-8. Machine stop of a 1785 Longman and
Broderip harpsichord. 374
16-9a. Nag’s-head swell of a 1780 Jacob and
Abraham Kirkman double-manual
harpsichord. 375
ib-c)b. Venetian swell of an 1800 Jacob
and Abraham Kirkman double-manual
harpsichord. 375
16-10. 1 7(14 Thomas I faxby bentside spinet. 380
ib-i 1. 1774 Henry Rolher clavicytherium. 382
16- 12. 1 739Johann Gottlob Clemm
bentside spinet. 384
ib-13. Ca. 1 76i)John Harris bentside
spinet. 385
17- 1. Ga. 1820 anonymous Italian virginal. 395
18- 1. 1889 Louis Tomasini harpsichord. 4 1 o
18-2. 1889 Krard harpsichord. 4 1 1
18-3. Louis Diemer seated at the* 1889
Pleyel harpsichord. 4 1 2
18-4. 1896 Krard harpsichord. 4 13
18-5. Karl Maendler harpsichord. 4 1 7
18-b. 1923 Gaveau harpsichord designed
by I)ol met sell. 421
18- 7. Thomas Golf harpsichord. 423
1 8-8. Robert (ioble and Sons harpsichord. 4 25
19- 1. Delrin jack by Her/.. 44 1
19-2. 1972 Sabathil Sc Son vis-a-vis
harpsichord. 450
19-3. Pre-i969John Paul clavicytherium. 453
19-4. 1970 Wittmayer harpsichord. 455
19-5. Baldwin electronic harpsichord. 456
19-6. Allen electronic harpsichord. 458
19-7. Zuckermann harpsichord kit
construction manual. 459
19-8. Zuckermann 5 slant-side harpsichord. 460
XIV
Plates and Illustrations
|
| any_adam_object | 1 |
| author | Kottick, Edward L. 1930- |
| author_GND | (DE-588)14043836X |
| author_facet | Kottick, Edward L. 1930- |
| author_role | aut |
| author_sort | Kottick, Edward L. 1930- |
| author_variant | e l k el elk |
| building | Verbundindex |
| bvnumber | BV043539459 |
| callnumber-first | M - Music |
| callnumber-label | ML650 |
| callnumber-raw | ML650 |
| callnumber-search | ML650 |
| callnumber-sort | ML 3650 |
| callnumber-subject | ML - Literature on Music |
| classification_rvk | LR 11510 |
| ctrlnum | (OCoLC)951777591 (DE-599)BVBBV043539459 |
| dewey-full | 786.4/19/09 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 786 - Keyboard & other instruments |
| dewey-raw | 786.4/19/09 |
| dewey-search | 786.4/19/09 |
| dewey-sort | 3786.4 219 19 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| id | DE-604.BV043539459 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:28:20Z |
| institution | BVB |
| isbn | 9780253023476 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028954952 |
| oclc_num | 951777591 |
| open_access_boolean | |
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| owner_facet | DE-20 DE-12 DE-355 DE-BY-UBR |
| physical | XVI, 557 Seiten, 16 ungezählte Seiten Bildtafeln Illustrationen |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Indiana University Press |
| record_format | marc |
| spelling | Kottick, Edward L. 1930- Verfasser (DE-588)14043836X aut A history of the harpsichord Edward L. Kottick Bloomington and Indianapolis Indiana University Press [2016] © 2003 XVI, 557 Seiten, 16 ungezählte Seiten Bildtafeln Illustrationen txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf Clavecin - Histoire Klavecimbels gtt Virginal - Histoire Épinette (Instrument de musique) - Histoire Geschichte Harpsichord History Cembalo (DE-588)4009667-1 gnd rswk-swf Cembalobau (DE-588)4281285-9 gnd rswk-swf Cembalo (DE-588)4009667-1 s Cembalobau (DE-588)4281285-9 s Geschichte z DE-604 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028954952&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Kottick, Edward L. 1930- A history of the harpsichord Clavecin - Histoire Klavecimbels gtt Virginal - Histoire Épinette (Instrument de musique) - Histoire Geschichte Harpsichord History Cembalo (DE-588)4009667-1 gnd Cembalobau (DE-588)4281285-9 gnd |
| subject_GND | (DE-588)4009667-1 (DE-588)4281285-9 |
| title | A history of the harpsichord |
| title_auth | A history of the harpsichord |
| title_exact_search | A history of the harpsichord |
| title_full | A history of the harpsichord Edward L. Kottick |
| title_fullStr | A history of the harpsichord Edward L. Kottick |
| title_full_unstemmed | A history of the harpsichord Edward L. Kottick |
| title_short | A history of the harpsichord |
| title_sort | a history of the harpsichord |
| topic | Clavecin - Histoire Klavecimbels gtt Virginal - Histoire Épinette (Instrument de musique) - Histoire Geschichte Harpsichord History Cembalo (DE-588)4009667-1 gnd Cembalobau (DE-588)4281285-9 gnd |
| topic_facet | Clavecin - Histoire Klavecimbels Virginal - Histoire Épinette (Instrument de musique) - Histoire Geschichte Harpsichord History Cembalo Cembalobau |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028954952&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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