The Mimetic Strand in the Cello Literature: Within the Context of History, Instrument Design, Iconography and Cello Performance
This book is the first integral study of the imitative art that has led to the creation of cello transcriptions and arrangements. It has an interdisciplinary character and covers issues related to philosophy, history of aesthetics and the art of cello making, as well as the fine arts, including icon...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Frankfurt a.M.
Peter Lang GmbH, Internationaler Verlag der Wissenschaften
2020
|
| Ausgabe: | 1st ed |
| Schriftenreihe: | Ars Musica. Interdisziplinaere Studien Series
v.7 |
| Schlagworte: | |
| Online-Zugang: | BSB01 |
| Zusammenfassung: | This book is the first integral study of the imitative art that has led to the creation of cello transcriptions and arrangements. It has an interdisciplinary character and covers issues related to philosophy, history of aesthetics and the art of cello making, as well as the fine arts, including iconography |
| Beschreibung: | 1 Online-Ressource (336 Seiten) |
| ISBN: | 9783631826287 |
Internformat
MARC
| LEADER | 00000nmm a2200000 cb4500 | ||
|---|---|---|---|
| 001 | BV048935478 | ||
| 003 | DE-604 | ||
| 005 | 00000000000000.0 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 230509s2020 |||| o||u| ||||||eng d | ||
| 020 | |a 9783631826287 |q electronic bk. |9 978-3-631-82628-7 | ||
| 035 | |a (ZDB-1-PQM)EBC6378570 | ||
| 035 | |a (ZDB-30-PAD)EBC6378570 | ||
| 035 | |a (ZDB-89-EBL)EBL6378570 | ||
| 035 | |a (OCoLC)1312173559 | ||
| 035 | |a (DE-599)BVBBV048935478 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-12 | ||
| 084 | |a MUS |q DE-12 |2 fid | ||
| 100 | 1 | |a Burzyński, Jan |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a The Mimetic Strand in the Cello Literature |b Within the Context of History, Instrument Design, Iconography and Cello Performance |
| 250 | |a 1st ed | ||
| 264 | 1 | |a Frankfurt a.M. |b Peter Lang GmbH, Internationaler Verlag der Wissenschaften |c 2020 | |
| 264 | 4 | |c ©2020 | |
| 300 | |a 1 Online-Ressource (336 Seiten) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 490 | 0 | |a Ars Musica. Interdisziplinaere Studien Series |v v.7 | |
| 505 | 8 | |a Cover -- Introduction -- Chapter 1: Mimesis 1 - general issues -- 1.1. Mimesis and the art of music -- 1.2. Periodisation of the evolution of mimetic cello performance -- Chapter 2: The Renaissance and the Baroque: the first evidence of the cello, the instrument's design and the earliest mimetic cello repertoire -- terminology, iconography -- 2.1. Mimesis and Renaissance instruments -- 2.2. Renaissance instruments and the design of the cello -- 2.4. Italian masters of the cello -- 2.5. Cello making schools, cello makers and extant instruments -- 2.5.1. The beginnings of cello making -- 2.5.2. The art of cello making in Cremona -- 2.5.3. Other cello making centres in Italy -- 2.5.4. The cello in the Commonwealth of Poland-Lithuania and in Royal Prussia: hypotheses and views -- 2.5.5. The design of a Baroque cello and bow -- 2.6. Cello terminology in documents and treatises -- 2.6.1. Cello nomenclature in Europe -- 2.6.2. Cello nomenclature in Poland -- 2.7. The depiction of the cello in European art of the sixteenth and seventeenth centuries -- 2.7.1. Iconography as a source of knowledge about the cello -- 2.7.2. The cello in Italian painting -- 2.7.3. Representations of the cello in Flemish art -- 2.7.4. Paintings depicting the cello in Dutch art 204 -- 2.7.5. The earliest traces of the cello in other European countries -- 2.7.6. Summary -- 2.7.7. Drawing, painting and sculpture with the cello and hybrid instruments in Poland -- 2.7.8. Sacred painting and sculpture depicting a cello -- Chapter 3: The late Baroque, cello transcriptions and arrangements after 1687 -- 3.1. The cello as an alternative instrument -- 3.1.1. General issues -- 3.1.2. The cello and the viola da gamba -- 3.1.3. Artistic transcription, self-transcription and polyversions for solo cello -- 3.2. Cellists active in Europe from 1688 to 1750 | |
| 505 | 8 | |a 3.3. The art of cello making after 1687 -- 3.3.1. Cello making in Europe -- 3.3.2. The art of cello making in Cremona -- 3.3.3. The art of cello making in Brescia and Bologna -- 3.3.5. The art of cello making in Venice -- 3.3.6. The art of cello making in Rome -- 3.3.7. Other Italian centres for cello making -- 3.3.8. European cello makers active outside Italy -- 3.3.9. Design changes and conversions of cellos and bows after 1700 -- 3.4. The European expansion of the cello, as documented in art from the turn of the eighteenth century -- 3.4.1. Baroque and Rococo iconography with a cello motif - introduction -- 3.4.2. Depictions of the cello in Italian art -- 3.4.3. Paintings and drawings with cellos in British, Austrian and Germany art -- 3.4.4. Iconography with a cello motif in Flemish and Dutch art -- 3.4.5. Depictions of the cello in French and Spanish art -- 3.4.6. Sacred sculpture with depictions of a cello in Poland -- 3.5. The form of musical instruments called violoncello and their repertoire -- 3.5.1. Introduction -- 3.5.2. Hybrids and conversions -- 3.5.3. Repertoire for the viola da gamba or cello - selected concepts relating to the original instruments -- 3.5.4. Violoncello piccolo -- 3.5.5. Historical Baroque cellos -- 3.5.6. Viola da spalla, hybrids and violoncello piccolo in iconography -- Chapter 4: Classicism and the mimesis aesthetic, mimetic musical forms, the Classical cello of the years 1750-1815/20 -- 4.1 The aesthetic category of mimesis during the second half of the eighteenth century -- 4.2. Arrangements and transcriptions in Classical musical forms -- 4.2.1. Classical variations 464 -- 4.2.2. Classical sonatas, self-transcriptions and polyversions -- 4.2.3. Virtuosic cadenzas in cello concertos | |
| 505 | 8 | |a 4.2.4 The compass of Classical works for cello within the context of the original instruments, performance practice and iconography -- 4.2.5. Editions and arrangements of Classical works, taking as an example Jean-Baptiste Br é val's Sonata No. 5 in G major, Op. 12 -- 4.2.6. Contemporary views on transcriptions and arrangements of works by Luigi Boccherini -- 4.3. Classical violin makers and their cellos -- 4.3.1. Innovations in cello design 1750-1815 -- 4.3.2. The Italian art of cello making during the second half of the eighteenth century -- 4.3.3. The art of cello making in Britain and France -- 4.3.4. Other centres of cello making -- 4.4. European iconography featuring the cello during the Classical era -- 4.4.1. Changes to the image of the cello during the second half of the eighteenth century -- 4.4.2. Italian and British art featuring the cello -- 4.4.3. French paintings with cellos -- 4.4.4. German, Flemish and Swedish art with cellos -- 4.5. The evolution of cello design from the Baroque to the Classical era -- 4.6. Obtaining approximate dimensions of necks and fingerboards of Baroque and Classical cellos from photographic documentation -- 4.7. The compass of works for cello and the instrument's actual performance capacities -- 4.8. The views of contemporary cellists on original instruments and the period performance of Classical works -- 4.9. Between Classicism and Romanticism -- Chapter 5: The art of cello transcription and arrangement during the Romantic era -- 5.1. The mimetic strand and cello performance in the nineteenth century -- 5.2. The art of cello transcription and arrangement after 1815/20 -- 5.2.1. Romantic variations, fantasies, potpourris, transcriptions and paraphrases -- 5.2.2. The Romantic literal transcription of a cyclic form: Franz Schubert's Sonata in A minor, D 821 for arpeggione and piano | |
| 505 | 8 | |a 5.3. Cellists in the entourage of Fryderyk Chopin (1810-1849) and cello transcriptions of his works -- 5.4. A new profession: the cellist transcriber and arranger -- 5.4.1. Friedrich Ludwig Gr ü tzmacher (1832-1903) as a transcriber -- 5.4.2. Other transcribers of the German school -- 5.4.3. Transcribers of the French and Russian schools -- 5.4.4. Other European transcribers -- 5.4.5. Arrangers of works for cello -- 5.5. The output of Polish composers in transcriptions -- 5.6. The popularisation of the cello in Poland, transcriptions, arrangements and polyversions -- 5.7. Virtuosic cadenzas -- 5.8. Composers and their self-transcriptions -- Chapter 6: The cello and the mimetic current in the twentieth and the twenty-first centuries -- 6.1. New trends in music and cello transcription -- 6.2. Cello arrangements and transcriptions and their composers in the twentieth and twenty-first centuries -- 6.2.1. European cellist-transcribers -- 6.2.2. Cello transcription in Poland -- 6.3. The mimetic art and aesthetic, ethical and legal issues -- Appendix I: Theory -- Appendix II: Concert transcriptions for cello. Description of the works recorded on the CD -- Bibliography -- Summary -- About the Author -- Index | |
| 520 | 3 | |a This book is the first integral study of the imitative art that has led to the creation of cello transcriptions and arrangements. It has an interdisciplinary character and covers issues related to philosophy, history of aesthetics and the art of cello making, as well as the fine arts, including iconography | |
| 650 | 0 | 7 | |a Arrangement |0 (DE-588)4285138-5 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Violoncello |0 (DE-588)4063584-3 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Mimesis |0 (DE-588)4039392-6 |2 gnd |9 rswk-swf |
| 653 | 6 | |a Electronic books | |
| 689 | 0 | 0 | |a Violoncello |0 (DE-588)4063584-3 |D s |
| 689 | 0 | 1 | |a Arrangement |0 (DE-588)4285138-5 |D s |
| 689 | 0 | 2 | |a Mimesis |0 (DE-588)4039392-6 |D s |
| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Mizia, Urszula |e Sonstige |4 oth | |
| 776 | 0 | 8 | |i Erscheint auch als |n Druck-Ausgabe |a Burzyński, Jan |t The Mimetic Strand in the Cello Literature |d Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften,c2020 |z 9783631806142 |
| 912 | |a ZDB-1-PQM |a ZDB-30-PQE | ||
| 999 | |a oai:aleph.bib-bvb.de:BVB01-034199344 | ||
| 966 | e | |u https://ebookcentral.proquest.com/lib/bsmfidmusic/detail.action?docID=6378570 |l BSB01 |p ZDB-1-PQM |q BSB_PDA_PQM |x Aggregator |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1804185131301208064 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Burzyński, Jan |
| author_facet | Burzyński, Jan |
| author_role | aut |
| author_sort | Burzyński, Jan |
| author_variant | j b jb |
| building | Verbundindex |
| bvnumber | BV048935478 |
| collection | ZDB-1-PQM ZDB-30-PQE |
| contents | Cover -- Introduction -- Chapter 1: Mimesis 1 - general issues -- 1.1. Mimesis and the art of music -- 1.2. Periodisation of the evolution of mimetic cello performance -- Chapter 2: The Renaissance and the Baroque: the first evidence of the cello, the instrument's design and the earliest mimetic cello repertoire -- terminology, iconography -- 2.1. Mimesis and Renaissance instruments -- 2.2. Renaissance instruments and the design of the cello -- 2.4. Italian masters of the cello -- 2.5. Cello making schools, cello makers and extant instruments -- 2.5.1. The beginnings of cello making -- 2.5.2. The art of cello making in Cremona -- 2.5.3. Other cello making centres in Italy -- 2.5.4. The cello in the Commonwealth of Poland-Lithuania and in Royal Prussia: hypotheses and views -- 2.5.5. The design of a Baroque cello and bow -- 2.6. Cello terminology in documents and treatises -- 2.6.1. Cello nomenclature in Europe -- 2.6.2. Cello nomenclature in Poland -- 2.7. The depiction of the cello in European art of the sixteenth and seventeenth centuries -- 2.7.1. Iconography as a source of knowledge about the cello -- 2.7.2. The cello in Italian painting -- 2.7.3. Representations of the cello in Flemish art -- 2.7.4. Paintings depicting the cello in Dutch art 204 -- 2.7.5. The earliest traces of the cello in other European countries -- 2.7.6. Summary -- 2.7.7. Drawing, painting and sculpture with the cello and hybrid instruments in Poland -- 2.7.8. Sacred painting and sculpture depicting a cello -- Chapter 3: The late Baroque, cello transcriptions and arrangements after 1687 -- 3.1. The cello as an alternative instrument -- 3.1.1. General issues -- 3.1.2. The cello and the viola da gamba -- 3.1.3. Artistic transcription, self-transcription and polyversions for solo cello -- 3.2. Cellists active in Europe from 1688 to 1750 3.3. The art of cello making after 1687 -- 3.3.1. Cello making in Europe -- 3.3.2. The art of cello making in Cremona -- 3.3.3. The art of cello making in Brescia and Bologna -- 3.3.5. The art of cello making in Venice -- 3.3.6. The art of cello making in Rome -- 3.3.7. Other Italian centres for cello making -- 3.3.8. European cello makers active outside Italy -- 3.3.9. Design changes and conversions of cellos and bows after 1700 -- 3.4. The European expansion of the cello, as documented in art from the turn of the eighteenth century -- 3.4.1. Baroque and Rococo iconography with a cello motif - introduction -- 3.4.2. Depictions of the cello in Italian art -- 3.4.3. Paintings and drawings with cellos in British, Austrian and Germany art -- 3.4.4. Iconography with a cello motif in Flemish and Dutch art -- 3.4.5. Depictions of the cello in French and Spanish art -- 3.4.6. Sacred sculpture with depictions of a cello in Poland -- 3.5. The form of musical instruments called violoncello and their repertoire -- 3.5.1. Introduction -- 3.5.2. Hybrids and conversions -- 3.5.3. Repertoire for the viola da gamba or cello - selected concepts relating to the original instruments -- 3.5.4. Violoncello piccolo -- 3.5.5. Historical Baroque cellos -- 3.5.6. Viola da spalla, hybrids and violoncello piccolo in iconography -- Chapter 4: Classicism and the mimesis aesthetic, mimetic musical forms, the Classical cello of the years 1750-1815/20 -- 4.1 The aesthetic category of mimesis during the second half of the eighteenth century -- 4.2. Arrangements and transcriptions in Classical musical forms -- 4.2.1. Classical variations 464 -- 4.2.2. Classical sonatas, self-transcriptions and polyversions -- 4.2.3. Virtuosic cadenzas in cello concertos 4.2.4 The compass of Classical works for cello within the context of the original instruments, performance practice and iconography -- 4.2.5. Editions and arrangements of Classical works, taking as an example Jean-Baptiste Br é val's Sonata No. 5 in G major, Op. 12 -- 4.2.6. Contemporary views on transcriptions and arrangements of works by Luigi Boccherini -- 4.3. Classical violin makers and their cellos -- 4.3.1. Innovations in cello design 1750-1815 -- 4.3.2. The Italian art of cello making during the second half of the eighteenth century -- 4.3.3. The art of cello making in Britain and France -- 4.3.4. Other centres of cello making -- 4.4. European iconography featuring the cello during the Classical era -- 4.4.1. Changes to the image of the cello during the second half of the eighteenth century -- 4.4.2. Italian and British art featuring the cello -- 4.4.3. French paintings with cellos -- 4.4.4. German, Flemish and Swedish art with cellos -- 4.5. The evolution of cello design from the Baroque to the Classical era -- 4.6. Obtaining approximate dimensions of necks and fingerboards of Baroque and Classical cellos from photographic documentation -- 4.7. The compass of works for cello and the instrument's actual performance capacities -- 4.8. The views of contemporary cellists on original instruments and the period performance of Classical works -- 4.9. Between Classicism and Romanticism -- Chapter 5: The art of cello transcription and arrangement during the Romantic era -- 5.1. The mimetic strand and cello performance in the nineteenth century -- 5.2. The art of cello transcription and arrangement after 1815/20 -- 5.2.1. Romantic variations, fantasies, potpourris, transcriptions and paraphrases -- 5.2.2. The Romantic literal transcription of a cyclic form: Franz Schubert's Sonata in A minor, D 821 for arpeggione and piano 5.3. Cellists in the entourage of Fryderyk Chopin (1810-1849) and cello transcriptions of his works -- 5.4. A new profession: the cellist transcriber and arranger -- 5.4.1. Friedrich Ludwig Gr ü tzmacher (1832-1903) as a transcriber -- 5.4.2. Other transcribers of the German school -- 5.4.3. Transcribers of the French and Russian schools -- 5.4.4. Other European transcribers -- 5.4.5. Arrangers of works for cello -- 5.5. The output of Polish composers in transcriptions -- 5.6. The popularisation of the cello in Poland, transcriptions, arrangements and polyversions -- 5.7. Virtuosic cadenzas -- 5.8. Composers and their self-transcriptions -- Chapter 6: The cello and the mimetic current in the twentieth and the twenty-first centuries -- 6.1. New trends in music and cello transcription -- 6.2. Cello arrangements and transcriptions and their composers in the twentieth and twenty-first centuries -- 6.2.1. European cellist-transcribers -- 6.2.2. Cello transcription in Poland -- 6.3. The mimetic art and aesthetic, ethical and legal issues -- Appendix I: Theory -- Appendix II: Concert transcriptions for cello. Description of the works recorded on the CD -- Bibliography -- Summary -- About the Author -- Index |
| ctrlnum | (ZDB-1-PQM)EBC6378570 (ZDB-30-PAD)EBC6378570 (ZDB-89-EBL)EBL6378570 (OCoLC)1312173559 (DE-599)BVBBV048935478 |
| edition | 1st ed |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>09030nmm a2200541 cb4500</leader><controlfield tag="001">BV048935478</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">00000000000000.0</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">230509s2020 |||| o||u| ||||||eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9783631826287</subfield><subfield code="q">electronic bk.</subfield><subfield code="9">978-3-631-82628-7</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-1-PQM)EBC6378570</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-30-PAD)EBC6378570</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-89-EBL)EBL6378570</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1312173559</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV048935478</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="084" ind1=" " ind2=" "><subfield code="a">MUS</subfield><subfield code="q">DE-12</subfield><subfield code="2">fid</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Burzyński, Jan</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">The Mimetic Strand in the Cello Literature</subfield><subfield code="b">Within the Context of History, Instrument Design, Iconography and Cello Performance</subfield></datafield><datafield tag="250" ind1=" " ind2=" "><subfield code="a">1st ed</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Frankfurt a.M.</subfield><subfield code="b">Peter Lang GmbH, Internationaler Verlag der Wissenschaften</subfield><subfield code="c">2020</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">©2020</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 Online-Ressource (336 Seiten)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="0" ind2=" "><subfield code="a">Ars Musica. Interdisziplinaere Studien Series</subfield><subfield code="v">v.7</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Cover -- Introduction -- Chapter 1: Mimesis 1 - general issues -- 1.1. Mimesis and the art of music -- 1.2. Periodisation of the evolution of mimetic cello performance -- Chapter 2: The Renaissance and the Baroque: the first evidence of the cello, the instrument's design and the earliest mimetic cello repertoire -- terminology, iconography -- 2.1. Mimesis and Renaissance instruments -- 2.2. Renaissance instruments and the design of the cello -- 2.4. Italian masters of the cello -- 2.5. Cello making schools, cello makers and extant instruments -- 2.5.1. The beginnings of cello making -- 2.5.2. The art of cello making in Cremona -- 2.5.3. Other cello making centres in Italy -- 2.5.4. The cello in the Commonwealth of Poland-Lithuania and in Royal Prussia: hypotheses and views -- 2.5.5. The design of a Baroque cello and bow -- 2.6. Cello terminology in documents and treatises -- 2.6.1. Cello nomenclature in Europe -- 2.6.2. Cello nomenclature in Poland -- 2.7. The depiction of the cello in European art of the sixteenth and seventeenth centuries -- 2.7.1. Iconography as a source of knowledge about the cello -- 2.7.2. The cello in Italian painting -- 2.7.3. Representations of the cello in Flemish art -- 2.7.4. Paintings depicting the cello in Dutch art 204 -- 2.7.5. The earliest traces of the cello in other European countries -- 2.7.6. Summary -- 2.7.7. Drawing, painting and sculpture with the cello and hybrid instruments in Poland -- 2.7.8. Sacred painting and sculpture depicting a cello -- Chapter 3: The late Baroque, cello transcriptions and arrangements after 1687 -- 3.1. The cello as an alternative instrument -- 3.1.1. General issues -- 3.1.2. The cello and the viola da gamba -- 3.1.3. Artistic transcription, self-transcription and polyversions for solo cello -- 3.2. Cellists active in Europe from 1688 to 1750</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">3.3. The art of cello making after 1687 -- 3.3.1. Cello making in Europe -- 3.3.2. The art of cello making in Cremona -- 3.3.3. The art of cello making in Brescia and Bologna -- 3.3.5. The art of cello making in Venice -- 3.3.6. The art of cello making in Rome -- 3.3.7. Other Italian centres for cello making -- 3.3.8. European cello makers active outside Italy -- 3.3.9. Design changes and conversions of cellos and bows after 1700 -- 3.4. The European expansion of the cello, as documented in art from the turn of the eighteenth century -- 3.4.1. Baroque and Rococo iconography with a cello motif - introduction -- 3.4.2. Depictions of the cello in Italian art -- 3.4.3. Paintings and drawings with cellos in British, Austrian and Germany art -- 3.4.4. Iconography with a cello motif in Flemish and Dutch art -- 3.4.5. Depictions of the cello in French and Spanish art -- 3.4.6. Sacred sculpture with depictions of a cello in Poland -- 3.5. The form of musical instruments called violoncello and their repertoire -- 3.5.1. Introduction -- 3.5.2. Hybrids and conversions -- 3.5.3. Repertoire for the viola da gamba or cello - selected concepts relating to the original instruments -- 3.5.4. Violoncello piccolo -- 3.5.5. Historical Baroque cellos -- 3.5.6. Viola da spalla, hybrids and violoncello piccolo in iconography -- Chapter 4: Classicism and the mimesis aesthetic, mimetic musical forms, the Classical cello of the years 1750-1815/20 -- 4.1 The aesthetic category of mimesis during the second half of the eighteenth century -- 4.2. Arrangements and transcriptions in Classical musical forms -- 4.2.1. Classical variations 464 -- 4.2.2. Classical sonatas, self-transcriptions and polyversions -- 4.2.3. Virtuosic cadenzas in cello concertos</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">4.2.4 The compass of Classical works for cello within the context of the original instruments, performance practice and iconography -- 4.2.5. Editions and arrangements of Classical works, taking as an example Jean-Baptiste Br é val's Sonata No. 5 in G major, Op. 12 -- 4.2.6. Contemporary views on transcriptions and arrangements of works by Luigi Boccherini -- 4.3. Classical violin makers and their cellos -- 4.3.1. Innovations in cello design 1750-1815 -- 4.3.2. The Italian art of cello making during the second half of the eighteenth century -- 4.3.3. The art of cello making in Britain and France -- 4.3.4. Other centres of cello making -- 4.4. European iconography featuring the cello during the Classical era -- 4.4.1. Changes to the image of the cello during the second half of the eighteenth century -- 4.4.2. Italian and British art featuring the cello -- 4.4.3. French paintings with cellos -- 4.4.4. German, Flemish and Swedish art with cellos -- 4.5. The evolution of cello design from the Baroque to the Classical era -- 4.6. Obtaining approximate dimensions of necks and fingerboards of Baroque and Classical cellos from photographic documentation -- 4.7. The compass of works for cello and the instrument's actual performance capacities -- 4.8. The views of contemporary cellists on original instruments and the period performance of Classical works -- 4.9. Between Classicism and Romanticism -- Chapter 5: The art of cello transcription and arrangement during the Romantic era -- 5.1. The mimetic strand and cello performance in the nineteenth century -- 5.2. The art of cello transcription and arrangement after 1815/20 -- 5.2.1. Romantic variations, fantasies, potpourris, transcriptions and paraphrases -- 5.2.2. The Romantic literal transcription of a cyclic form: Franz Schubert's Sonata in A minor, D 821 for arpeggione and piano</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">5.3. Cellists in the entourage of Fryderyk Chopin (1810-1849) and cello transcriptions of his works -- 5.4. A new profession: the cellist transcriber and arranger -- 5.4.1. Friedrich Ludwig Gr ü tzmacher (1832-1903) as a transcriber -- 5.4.2. Other transcribers of the German school -- 5.4.3. Transcribers of the French and Russian schools -- 5.4.4. Other European transcribers -- 5.4.5. Arrangers of works for cello -- 5.5. The output of Polish composers in transcriptions -- 5.6. The popularisation of the cello in Poland, transcriptions, arrangements and polyversions -- 5.7. Virtuosic cadenzas -- 5.8. Composers and their self-transcriptions -- Chapter 6: The cello and the mimetic current in the twentieth and the twenty-first centuries -- 6.1. New trends in music and cello transcription -- 6.2. Cello arrangements and transcriptions and their composers in the twentieth and twenty-first centuries -- 6.2.1. European cellist-transcribers -- 6.2.2. Cello transcription in Poland -- 6.3. The mimetic art and aesthetic, ethical and legal issues -- Appendix I: Theory -- Appendix II: Concert transcriptions for cello. Description of the works recorded on the CD -- Bibliography -- Summary -- About the Author -- Index</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">This book is the first integral study of the imitative art that has led to the creation of cello transcriptions and arrangements. It has an interdisciplinary character and covers issues related to philosophy, history of aesthetics and the art of cello making, as well as the fine arts, including iconography</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Arrangement</subfield><subfield code="0">(DE-588)4285138-5</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Violoncello</subfield><subfield code="0">(DE-588)4063584-3</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Mimesis</subfield><subfield code="0">(DE-588)4039392-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="653" ind1=" " ind2="6"><subfield code="a">Electronic books</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Violoncello</subfield><subfield code="0">(DE-588)4063584-3</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Arrangement</subfield><subfield code="0">(DE-588)4285138-5</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Mimesis</subfield><subfield code="0">(DE-588)4039392-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Mizia, Urszula</subfield><subfield code="e">Sonstige</subfield><subfield code="4">oth</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Erscheint auch als</subfield><subfield code="n">Druck-Ausgabe</subfield><subfield code="a">Burzyński, Jan</subfield><subfield code="t">The Mimetic Strand in the Cello Literature</subfield><subfield code="d">Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften,c2020</subfield><subfield code="z">9783631806142</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-1-PQM</subfield><subfield code="a">ZDB-30-PQE</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-034199344</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://ebookcentral.proquest.com/lib/bsmfidmusic/detail.action?docID=6378570</subfield><subfield code="l">BSB01</subfield><subfield code="p">ZDB-1-PQM</subfield><subfield code="q">BSB_PDA_PQM</subfield><subfield code="x">Aggregator</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV048935478 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T21:58:11Z |
| indexdate | 2024-07-10T09:50:21Z |
| institution | BVB |
| isbn | 9783631826287 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034199344 |
| oclc_num | 1312173559 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 1 Online-Ressource (336 Seiten) |
| psigel | ZDB-1-PQM ZDB-30-PQE ZDB-1-PQM BSB_PDA_PQM |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Peter Lang GmbH, Internationaler Verlag der Wissenschaften |
| record_format | marc |
| series2 | Ars Musica. Interdisziplinaere Studien Series |
| spelling | Burzyński, Jan Verfasser aut The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance 1st ed Frankfurt a.M. Peter Lang GmbH, Internationaler Verlag der Wissenschaften 2020 ©2020 1 Online-Ressource (336 Seiten) txt rdacontent c rdamedia cr rdacarrier Ars Musica. Interdisziplinaere Studien Series v.7 Cover -- Introduction -- Chapter 1: Mimesis 1 - general issues -- 1.1. Mimesis and the art of music -- 1.2. Periodisation of the evolution of mimetic cello performance -- Chapter 2: The Renaissance and the Baroque: the first evidence of the cello, the instrument's design and the earliest mimetic cello repertoire -- terminology, iconography -- 2.1. Mimesis and Renaissance instruments -- 2.2. Renaissance instruments and the design of the cello -- 2.4. Italian masters of the cello -- 2.5. Cello making schools, cello makers and extant instruments -- 2.5.1. The beginnings of cello making -- 2.5.2. The art of cello making in Cremona -- 2.5.3. Other cello making centres in Italy -- 2.5.4. The cello in the Commonwealth of Poland-Lithuania and in Royal Prussia: hypotheses and views -- 2.5.5. The design of a Baroque cello and bow -- 2.6. Cello terminology in documents and treatises -- 2.6.1. Cello nomenclature in Europe -- 2.6.2. Cello nomenclature in Poland -- 2.7. The depiction of the cello in European art of the sixteenth and seventeenth centuries -- 2.7.1. Iconography as a source of knowledge about the cello -- 2.7.2. The cello in Italian painting -- 2.7.3. Representations of the cello in Flemish art -- 2.7.4. Paintings depicting the cello in Dutch art 204 -- 2.7.5. The earliest traces of the cello in other European countries -- 2.7.6. Summary -- 2.7.7. Drawing, painting and sculpture with the cello and hybrid instruments in Poland -- 2.7.8. Sacred painting and sculpture depicting a cello -- Chapter 3: The late Baroque, cello transcriptions and arrangements after 1687 -- 3.1. The cello as an alternative instrument -- 3.1.1. General issues -- 3.1.2. The cello and the viola da gamba -- 3.1.3. Artistic transcription, self-transcription and polyversions for solo cello -- 3.2. Cellists active in Europe from 1688 to 1750 3.3. The art of cello making after 1687 -- 3.3.1. Cello making in Europe -- 3.3.2. The art of cello making in Cremona -- 3.3.3. The art of cello making in Brescia and Bologna -- 3.3.5. The art of cello making in Venice -- 3.3.6. The art of cello making in Rome -- 3.3.7. Other Italian centres for cello making -- 3.3.8. European cello makers active outside Italy -- 3.3.9. Design changes and conversions of cellos and bows after 1700 -- 3.4. The European expansion of the cello, as documented in art from the turn of the eighteenth century -- 3.4.1. Baroque and Rococo iconography with a cello motif - introduction -- 3.4.2. Depictions of the cello in Italian art -- 3.4.3. Paintings and drawings with cellos in British, Austrian and Germany art -- 3.4.4. Iconography with a cello motif in Flemish and Dutch art -- 3.4.5. Depictions of the cello in French and Spanish art -- 3.4.6. Sacred sculpture with depictions of a cello in Poland -- 3.5. The form of musical instruments called violoncello and their repertoire -- 3.5.1. Introduction -- 3.5.2. Hybrids and conversions -- 3.5.3. Repertoire for the viola da gamba or cello - selected concepts relating to the original instruments -- 3.5.4. Violoncello piccolo -- 3.5.5. Historical Baroque cellos -- 3.5.6. Viola da spalla, hybrids and violoncello piccolo in iconography -- Chapter 4: Classicism and the mimesis aesthetic, mimetic musical forms, the Classical cello of the years 1750-1815/20 -- 4.1 The aesthetic category of mimesis during the second half of the eighteenth century -- 4.2. Arrangements and transcriptions in Classical musical forms -- 4.2.1. Classical variations 464 -- 4.2.2. Classical sonatas, self-transcriptions and polyversions -- 4.2.3. Virtuosic cadenzas in cello concertos 4.2.4 The compass of Classical works for cello within the context of the original instruments, performance practice and iconography -- 4.2.5. Editions and arrangements of Classical works, taking as an example Jean-Baptiste Br é val's Sonata No. 5 in G major, Op. 12 -- 4.2.6. Contemporary views on transcriptions and arrangements of works by Luigi Boccherini -- 4.3. Classical violin makers and their cellos -- 4.3.1. Innovations in cello design 1750-1815 -- 4.3.2. The Italian art of cello making during the second half of the eighteenth century -- 4.3.3. The art of cello making in Britain and France -- 4.3.4. Other centres of cello making -- 4.4. European iconography featuring the cello during the Classical era -- 4.4.1. Changes to the image of the cello during the second half of the eighteenth century -- 4.4.2. Italian and British art featuring the cello -- 4.4.3. French paintings with cellos -- 4.4.4. German, Flemish and Swedish art with cellos -- 4.5. The evolution of cello design from the Baroque to the Classical era -- 4.6. Obtaining approximate dimensions of necks and fingerboards of Baroque and Classical cellos from photographic documentation -- 4.7. The compass of works for cello and the instrument's actual performance capacities -- 4.8. The views of contemporary cellists on original instruments and the period performance of Classical works -- 4.9. Between Classicism and Romanticism -- Chapter 5: The art of cello transcription and arrangement during the Romantic era -- 5.1. The mimetic strand and cello performance in the nineteenth century -- 5.2. The art of cello transcription and arrangement after 1815/20 -- 5.2.1. Romantic variations, fantasies, potpourris, transcriptions and paraphrases -- 5.2.2. The Romantic literal transcription of a cyclic form: Franz Schubert's Sonata in A minor, D 821 for arpeggione and piano 5.3. Cellists in the entourage of Fryderyk Chopin (1810-1849) and cello transcriptions of his works -- 5.4. A new profession: the cellist transcriber and arranger -- 5.4.1. Friedrich Ludwig Gr ü tzmacher (1832-1903) as a transcriber -- 5.4.2. Other transcribers of the German school -- 5.4.3. Transcribers of the French and Russian schools -- 5.4.4. Other European transcribers -- 5.4.5. Arrangers of works for cello -- 5.5. The output of Polish composers in transcriptions -- 5.6. The popularisation of the cello in Poland, transcriptions, arrangements and polyversions -- 5.7. Virtuosic cadenzas -- 5.8. Composers and their self-transcriptions -- Chapter 6: The cello and the mimetic current in the twentieth and the twenty-first centuries -- 6.1. New trends in music and cello transcription -- 6.2. Cello arrangements and transcriptions and their composers in the twentieth and twenty-first centuries -- 6.2.1. European cellist-transcribers -- 6.2.2. Cello transcription in Poland -- 6.3. The mimetic art and aesthetic, ethical and legal issues -- Appendix I: Theory -- Appendix II: Concert transcriptions for cello. Description of the works recorded on the CD -- Bibliography -- Summary -- About the Author -- Index This book is the first integral study of the imitative art that has led to the creation of cello transcriptions and arrangements. It has an interdisciplinary character and covers issues related to philosophy, history of aesthetics and the art of cello making, as well as the fine arts, including iconography Arrangement (DE-588)4285138-5 gnd rswk-swf Violoncello (DE-588)4063584-3 gnd rswk-swf Mimesis (DE-588)4039392-6 gnd rswk-swf Electronic books Violoncello (DE-588)4063584-3 s Arrangement (DE-588)4285138-5 s Mimesis (DE-588)4039392-6 s DE-604 Mizia, Urszula Sonstige oth Erscheint auch als Druck-Ausgabe Burzyński, Jan The Mimetic Strand in the Cello Literature Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften,c2020 9783631806142 |
| spellingShingle | Burzyński, Jan The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance Cover -- Introduction -- Chapter 1: Mimesis 1 - general issues -- 1.1. Mimesis and the art of music -- 1.2. Periodisation of the evolution of mimetic cello performance -- Chapter 2: The Renaissance and the Baroque: the first evidence of the cello, the instrument's design and the earliest mimetic cello repertoire -- terminology, iconography -- 2.1. Mimesis and Renaissance instruments -- 2.2. Renaissance instruments and the design of the cello -- 2.4. Italian masters of the cello -- 2.5. Cello making schools, cello makers and extant instruments -- 2.5.1. The beginnings of cello making -- 2.5.2. The art of cello making in Cremona -- 2.5.3. Other cello making centres in Italy -- 2.5.4. The cello in the Commonwealth of Poland-Lithuania and in Royal Prussia: hypotheses and views -- 2.5.5. The design of a Baroque cello and bow -- 2.6. Cello terminology in documents and treatises -- 2.6.1. Cello nomenclature in Europe -- 2.6.2. Cello nomenclature in Poland -- 2.7. The depiction of the cello in European art of the sixteenth and seventeenth centuries -- 2.7.1. Iconography as a source of knowledge about the cello -- 2.7.2. The cello in Italian painting -- 2.7.3. Representations of the cello in Flemish art -- 2.7.4. Paintings depicting the cello in Dutch art 204 -- 2.7.5. The earliest traces of the cello in other European countries -- 2.7.6. Summary -- 2.7.7. Drawing, painting and sculpture with the cello and hybrid instruments in Poland -- 2.7.8. Sacred painting and sculpture depicting a cello -- Chapter 3: The late Baroque, cello transcriptions and arrangements after 1687 -- 3.1. The cello as an alternative instrument -- 3.1.1. General issues -- 3.1.2. The cello and the viola da gamba -- 3.1.3. Artistic transcription, self-transcription and polyversions for solo cello -- 3.2. Cellists active in Europe from 1688 to 1750 3.3. The art of cello making after 1687 -- 3.3.1. Cello making in Europe -- 3.3.2. The art of cello making in Cremona -- 3.3.3. The art of cello making in Brescia and Bologna -- 3.3.5. The art of cello making in Venice -- 3.3.6. The art of cello making in Rome -- 3.3.7. Other Italian centres for cello making -- 3.3.8. European cello makers active outside Italy -- 3.3.9. Design changes and conversions of cellos and bows after 1700 -- 3.4. The European expansion of the cello, as documented in art from the turn of the eighteenth century -- 3.4.1. Baroque and Rococo iconography with a cello motif - introduction -- 3.4.2. Depictions of the cello in Italian art -- 3.4.3. Paintings and drawings with cellos in British, Austrian and Germany art -- 3.4.4. Iconography with a cello motif in Flemish and Dutch art -- 3.4.5. Depictions of the cello in French and Spanish art -- 3.4.6. Sacred sculpture with depictions of a cello in Poland -- 3.5. The form of musical instruments called violoncello and their repertoire -- 3.5.1. Introduction -- 3.5.2. Hybrids and conversions -- 3.5.3. Repertoire for the viola da gamba or cello - selected concepts relating to the original instruments -- 3.5.4. Violoncello piccolo -- 3.5.5. Historical Baroque cellos -- 3.5.6. Viola da spalla, hybrids and violoncello piccolo in iconography -- Chapter 4: Classicism and the mimesis aesthetic, mimetic musical forms, the Classical cello of the years 1750-1815/20 -- 4.1 The aesthetic category of mimesis during the second half of the eighteenth century -- 4.2. Arrangements and transcriptions in Classical musical forms -- 4.2.1. Classical variations 464 -- 4.2.2. Classical sonatas, self-transcriptions and polyversions -- 4.2.3. Virtuosic cadenzas in cello concertos 4.2.4 The compass of Classical works for cello within the context of the original instruments, performance practice and iconography -- 4.2.5. Editions and arrangements of Classical works, taking as an example Jean-Baptiste Br é val's Sonata No. 5 in G major, Op. 12 -- 4.2.6. Contemporary views on transcriptions and arrangements of works by Luigi Boccherini -- 4.3. Classical violin makers and their cellos -- 4.3.1. Innovations in cello design 1750-1815 -- 4.3.2. The Italian art of cello making during the second half of the eighteenth century -- 4.3.3. The art of cello making in Britain and France -- 4.3.4. Other centres of cello making -- 4.4. European iconography featuring the cello during the Classical era -- 4.4.1. Changes to the image of the cello during the second half of the eighteenth century -- 4.4.2. Italian and British art featuring the cello -- 4.4.3. French paintings with cellos -- 4.4.4. German, Flemish and Swedish art with cellos -- 4.5. The evolution of cello design from the Baroque to the Classical era -- 4.6. Obtaining approximate dimensions of necks and fingerboards of Baroque and Classical cellos from photographic documentation -- 4.7. The compass of works for cello and the instrument's actual performance capacities -- 4.8. The views of contemporary cellists on original instruments and the period performance of Classical works -- 4.9. Between Classicism and Romanticism -- Chapter 5: The art of cello transcription and arrangement during the Romantic era -- 5.1. The mimetic strand and cello performance in the nineteenth century -- 5.2. The art of cello transcription and arrangement after 1815/20 -- 5.2.1. Romantic variations, fantasies, potpourris, transcriptions and paraphrases -- 5.2.2. The Romantic literal transcription of a cyclic form: Franz Schubert's Sonata in A minor, D 821 for arpeggione and piano 5.3. Cellists in the entourage of Fryderyk Chopin (1810-1849) and cello transcriptions of his works -- 5.4. A new profession: the cellist transcriber and arranger -- 5.4.1. Friedrich Ludwig Gr ü tzmacher (1832-1903) as a transcriber -- 5.4.2. Other transcribers of the German school -- 5.4.3. Transcribers of the French and Russian schools -- 5.4.4. Other European transcribers -- 5.4.5. Arrangers of works for cello -- 5.5. The output of Polish composers in transcriptions -- 5.6. The popularisation of the cello in Poland, transcriptions, arrangements and polyversions -- 5.7. Virtuosic cadenzas -- 5.8. Composers and their self-transcriptions -- Chapter 6: The cello and the mimetic current in the twentieth and the twenty-first centuries -- 6.1. New trends in music and cello transcription -- 6.2. Cello arrangements and transcriptions and their composers in the twentieth and twenty-first centuries -- 6.2.1. European cellist-transcribers -- 6.2.2. Cello transcription in Poland -- 6.3. The mimetic art and aesthetic, ethical and legal issues -- Appendix I: Theory -- Appendix II: Concert transcriptions for cello. Description of the works recorded on the CD -- Bibliography -- Summary -- About the Author -- Index Arrangement (DE-588)4285138-5 gnd Violoncello (DE-588)4063584-3 gnd Mimesis (DE-588)4039392-6 gnd |
| subject_GND | (DE-588)4285138-5 (DE-588)4063584-3 (DE-588)4039392-6 |
| title | The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance |
| title_auth | The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance |
| title_exact_search | The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance |
| title_exact_search_txtP | The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance |
| title_full | The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance |
| title_fullStr | The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance |
| title_full_unstemmed | The Mimetic Strand in the Cello Literature Within the Context of History, Instrument Design, Iconography and Cello Performance |
| title_short | The Mimetic Strand in the Cello Literature |
| title_sort | the mimetic strand in the cello literature within the context of history instrument design iconography and cello performance |
| title_sub | Within the Context of History, Instrument Design, Iconography and Cello Performance |
| topic | Arrangement (DE-588)4285138-5 gnd Violoncello (DE-588)4063584-3 gnd Mimesis (DE-588)4039392-6 gnd |
| topic_facet | Arrangement Violoncello Mimesis |
| work_keys_str_mv | AT burzynskijan themimeticstrandinthecelloliteraturewithinthecontextofhistoryinstrumentdesigniconographyandcelloperformance AT miziaurszula themimeticstrandinthecelloliteraturewithinthecontextofhistoryinstrumentdesigniconographyandcelloperformance |