Orlando di Lasso's imitation magnificats for Counter-Reformation Munich /:
After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this re...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Princeton, New Jersey :
Princeton University Press,
[1994]
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. |
| Beschreibung: | 1 online resource (312 pages) : music |
| Bibliographie: | Includes bibliographical references (pages 279-288) and index. |
| ISBN: | 9781400863785 1400863783 |
Internformat
MARC
| LEADER | 00000cam a2200000 i 4500 | ||
|---|---|---|---|
| 001 | ZDB-4-EBA-ocn889252506 | ||
| 003 | OCoLC | ||
| 005 | 20241004212047.0 | ||
| 006 | m o d | ||
| 007 | cr cn||||||||| | ||
| 008 | 930921t19941994njug ob 001 0deng d | ||
| 040 | |a E7B |b eng |e rda |e pn |c E7B |d OCLCO |d JSTOR |d P@U |d OCLCF |d DEBBG |d COO |d N$T |d YDXCP |d OCLCQ |d DEBSZ |d OCL |d OCLCQ |d AGLDB |d IOG |d DEGRU |d EZ9 |d OCLCA |d STF |d OCLCQ |d VTS |d OCLCQ |d OCLCO |d LVT |d LEAUB |d DKC |d OCLCQ |d M8D |d OCLCQ |d OCLCO |d SNU |d AJS |d OCLCO |d OCLCQ |d OCLCO |d OCLCL | ||
| 019 | |a 979954509 |a 992902295 | ||
| 020 | |a 9781400863785 |q (electronic bk.) | ||
| 020 | |a 1400863783 |q (electronic bk.) | ||
| 020 | |z 9780691036144 | ||
| 020 | |z 0691036144 | ||
| 020 | |z 0691601178 | ||
| 020 | |z 9780691601175 | ||
| 024 | 7 | |a 10.1515/9781400863785 |2 doi | |
| 035 | |a (OCoLC)889252506 |z (OCoLC)979954509 |z (OCoLC)992902295 | ||
| 037 | |a 22573/ctt738zsf |b JSTOR | ||
| 043 | |a e-gx--- | ||
| 050 | 4 | |a ML410.L3 |b C7 1994eb | |
| 072 | 7 | |a MUS020000 |2 bisacsh | |
| 072 | 7 | |a MUS |x 042000 |2 bisacsh | |
| 072 | 7 | |a MUS |x 052000 |2 bisacsh | |
| 072 | 7 | |a MUS |x 037110 |2 bisacsh | |
| 082 | 7 | |a 782.2/95 |2 20 | |
| 049 | |a MAIN | ||
| 100 | 1 | |a Crook, David, |d 1957- |e author. |1 https://id.oclc.org/worldcat/entity/E39PCjxcPrgHHqrBx3mKVmRWQq |0 http://id.loc.gov/authorities/names/n93092828 | |
| 245 | 1 | 0 | |a Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / |c David Crook. |
| 264 | 1 | |a Princeton, New Jersey : |b Princeton University Press, |c [1994] | |
| 264 | 4 | |c ©1994 | |
| 300 | |a 1 online resource (312 pages) : |b music | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a text file | ||
| 347 | |b PDF | ||
| 504 | |a Includes bibliographical references (pages 279-288) and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t Acknowledgments -- |t Abbreviations -- |t Pitch, Clef, and Chord Designations -- |t Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat -- |t Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms -- |t Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria -- |t Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats -- |t Chapter 5. The Intertextuality of Lasso's Imitation Magnificats -- |t Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 -- |t Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition -- |t Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension -- |t Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions -- |t Works Cited -- |t Index. |
| 520 | |a After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. | ||
| 546 | |a In English. | ||
| 600 | 1 | 0 | |a Lasso, Orlando di, |d 1532-1594. |t Magnificats. |
| 600 | 1 | 1 | |a Lasso, Orlando di, |d 1532-1594. |t Magnificats. |
| 630 | 0 | 7 | |a Magnificats (Lasso, Orlando di) |2 fast |
| 650 | 0 | |a Magnificat (Music) |x History and criticism. | |
| 650 | 0 | |a Church music |z Germany |z Munich |y 16th century. | |
| 650 | 6 | |a Magnificat (Musique) |x Histoire et critique. | |
| 650 | 6 | |a Musique d'église |z Allemagne |z Munich |y 16e siècle. | |
| 650 | 7 | |a MUSIC |x History & Criticism. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Voice. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Lyrics. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Printed Music |x Vocal. |2 bisacsh | |
| 650 | 7 | |a Church music |2 fast | |
| 650 | 7 | |a Magnificat (Music) |2 fast | |
| 651 | 7 | |a Germany |z Munich |2 fast |1 https://id.oclc.org/worldcat/entity/E39PBJqfMghCdvHbmq8XCcXcfq | |
| 648 | 7 | |a 1500-1599 |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 758 | |i has work: |a Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich (Text) |1 https://id.oclc.org/worldcat/entity/E39PCFWccFC6KppGyhwX9CmFmm |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Crook, David. |t Orlando di Lasso's imitation magnificats for Counter-Reformation Munich. |d Princeton, New Jersey : Princeton University Press, [1994] |h xii, 295 pages ; 24 cm |z 9780691601175 |w (DLC) 10898867 |
| 856 | 4 | 0 | |l FWS01 |p ZDB-4-EBA |q FWS_PDA_EBA |u https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=790892 |3 Volltext |
| 936 | |a BATCHLOAD | ||
| 938 | |a De Gruyter |b DEGR |n 9781400863785 | ||
| 938 | |a ebrary |b EBRY |n ebr10898867 | ||
| 938 | |a EBSCOhost |b EBSC |n 790892 | ||
| 938 | |a Project MUSE |b MUSE |n muse40375 | ||
| 938 | |a YBP Library Services |b YANK |n 11997501 | ||
| 994 | |a 92 |b GEBAY | ||
| 912 | |a ZDB-4-EBA | ||
| 049 | |a DE-863 | ||
Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-ocn889252506 |
|---|---|
| _version_ | 1816882283849711618 |
| adam_text | |
| any_adam_object | |
| author | Crook, David, 1957- |
| author_GND | http://id.loc.gov/authorities/names/n93092828 |
| author_facet | Crook, David, 1957- |
| author_role | aut |
| author_sort | Crook, David, 1957- |
| author_variant | d c dc |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | M - Music |
| callnumber-label | ML410 |
| callnumber-raw | ML410.L3 C7 1994eb |
| callnumber-search | ML410.L3 C7 1994eb |
| callnumber-sort | ML 3410 L3 C7 41994EB |
| callnumber-subject | ML - Literature on Music |
| collection | ZDB-4-EBA |
| contents | Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Pitch, Clef, and Chord Designations -- Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat -- Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms -- Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria -- Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats -- Chapter 5. The Intertextuality of Lasso's Imitation Magnificats -- Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 -- Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition -- Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension -- Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions -- Works Cited -- Index. |
| ctrlnum | (OCoLC)889252506 |
| dewey-full | 782.2/95 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 782 - Vocal music |
| dewey-raw | 782.2/95 |
| dewey-search | 782.2/95 |
| dewey-sort | 3782.2 295 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | 1500-1599 fast |
| era_facet | 1500-1599 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>06595cam a2200817 i 4500</leader><controlfield tag="001">ZDB-4-EBA-ocn889252506</controlfield><controlfield tag="003">OCoLC</controlfield><controlfield tag="005">20241004212047.0</controlfield><controlfield tag="006">m o d </controlfield><controlfield tag="007">cr cn|||||||||</controlfield><controlfield tag="008">930921t19941994njug ob 001 0deng d</controlfield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">E7B</subfield><subfield code="b">eng</subfield><subfield code="e">rda</subfield><subfield code="e">pn</subfield><subfield code="c">E7B</subfield><subfield code="d">OCLCO</subfield><subfield code="d">JSTOR</subfield><subfield code="d">P@U</subfield><subfield code="d">OCLCF</subfield><subfield code="d">DEBBG</subfield><subfield code="d">COO</subfield><subfield code="d">N$T</subfield><subfield code="d">YDXCP</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">DEBSZ</subfield><subfield code="d">OCL</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">AGLDB</subfield><subfield code="d">IOG</subfield><subfield code="d">DEGRU</subfield><subfield code="d">EZ9</subfield><subfield code="d">OCLCA</subfield><subfield code="d">STF</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">VTS</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">LVT</subfield><subfield code="d">LEAUB</subfield><subfield code="d">DKC</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">M8D</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">SNU</subfield><subfield code="d">AJS</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCQ</subfield><subfield code="d">OCLCO</subfield><subfield code="d">OCLCL</subfield></datafield><datafield tag="019" ind1=" " ind2=" "><subfield code="a">979954509</subfield><subfield code="a">992902295</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9781400863785</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">1400863783</subfield><subfield code="q">(electronic bk.)</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9780691036144</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">0691036144</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">0691601178</subfield></datafield><datafield tag="020" ind1=" " ind2=" "><subfield code="z">9780691601175</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/9781400863785</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)889252506</subfield><subfield code="z">(OCoLC)979954509</subfield><subfield code="z">(OCoLC)992902295</subfield></datafield><datafield tag="037" ind1=" " ind2=" "><subfield code="a">22573/ctt738zsf</subfield><subfield code="b">JSTOR</subfield></datafield><datafield tag="043" ind1=" " ind2=" "><subfield code="a">e-gx---</subfield></datafield><datafield tag="050" ind1=" " ind2="4"><subfield code="a">ML410.L3</subfield><subfield code="b">C7 1994eb</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">MUS020000</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">MUS</subfield><subfield code="x">042000</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">MUS</subfield><subfield code="x">052000</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="072" ind1=" " ind2="7"><subfield code="a">MUS</subfield><subfield code="x">037110</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="082" ind1="7" ind2=" "><subfield code="a">782.2/95</subfield><subfield code="2">20</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">MAIN</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Crook, David,</subfield><subfield code="d">1957-</subfield><subfield code="e">author.</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCjxcPrgHHqrBx3mKVmRWQq</subfield><subfield code="0">http://id.loc.gov/authorities/names/n93092828</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Orlando di Lasso's imitation magnificats for Counter-Reformation Munich /</subfield><subfield code="c">David Crook.</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Princeton, New Jersey :</subfield><subfield code="b">Princeton University Press,</subfield><subfield code="c">[1994]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">©1994</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (312 pages) :</subfield><subfield code="b">music</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="a">text file</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="b">PDF</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references (pages 279-288) and index.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="505" ind1="0" ind2="0"><subfield code="t">Frontmatter --</subfield><subfield code="t">Contents --</subfield><subfield code="t">Acknowledgments --</subfield><subfield code="t">Abbreviations --</subfield><subfield code="t">Pitch, Clef, and Chord Designations --</subfield><subfield code="t">Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat --</subfield><subfield code="t">Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms --</subfield><subfield code="t">Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria --</subfield><subfield code="t">Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats --</subfield><subfield code="t">Chapter 5. The Intertextuality of Lasso's Imitation Magnificats --</subfield><subfield code="t">Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 --</subfield><subfield code="t">Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition --</subfield><subfield code="t">Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension --</subfield><subfield code="t">Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions --</subfield><subfield code="t">Works Cited --</subfield><subfield code="t">Index.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English.</subfield></datafield><datafield tag="600" ind1="1" ind2="0"><subfield code="a">Lasso, Orlando di,</subfield><subfield code="d">1532-1594.</subfield><subfield code="t">Magnificats.</subfield></datafield><datafield tag="600" ind1="1" ind2="1"><subfield code="a">Lasso, Orlando di,</subfield><subfield code="d">1532-1594.</subfield><subfield code="t">Magnificats.</subfield></datafield><datafield tag="630" ind1="0" ind2="7"><subfield code="a">Magnificats (Lasso, Orlando di)</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Magnificat (Music)</subfield><subfield code="x">History and criticism.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Church music</subfield><subfield code="z">Germany</subfield><subfield code="z">Munich</subfield><subfield code="y">16th century.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Magnificat (Musique)</subfield><subfield code="x">Histoire et critique.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Musique d'église</subfield><subfield code="z">Allemagne</subfield><subfield code="z">Munich</subfield><subfield code="y">16e siècle.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">History & Criticism.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">Instruction & Study</subfield><subfield code="x">Voice.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">Lyrics.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC</subfield><subfield code="x">Printed Music</subfield><subfield code="x">Vocal.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Church music</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Magnificat (Music)</subfield><subfield code="2">fast</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Germany</subfield><subfield code="z">Munich</subfield><subfield code="2">fast</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PBJqfMghCdvHbmq8XCcXcfq</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">1500-1599</subfield><subfield code="2">fast</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="a">Criticism, interpretation, etc.</subfield><subfield code="2">fast</subfield></datafield><datafield tag="758" ind1=" " ind2=" "><subfield code="i">has work:</subfield><subfield code="a">Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich (Text)</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCFWccFC6KppGyhwX9CmFmm</subfield><subfield code="4">https://id.oclc.org/worldcat/ontology/hasWork</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="a">Crook, David.</subfield><subfield code="t">Orlando di Lasso's imitation magnificats for Counter-Reformation Munich.</subfield><subfield code="d">Princeton, New Jersey : Princeton University Press, [1994]</subfield><subfield code="h">xii, 295 pages ; 24 cm</subfield><subfield code="z">9780691601175</subfield><subfield code="w">(DLC) 10898867</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="l">FWS01</subfield><subfield code="p">ZDB-4-EBA</subfield><subfield code="q">FWS_PDA_EBA</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=790892</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="936" ind1=" " ind2=" "><subfield code="a">BATCHLOAD</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">De Gruyter</subfield><subfield code="b">DEGR</subfield><subfield code="n">9781400863785</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ebrary</subfield><subfield code="b">EBRY</subfield><subfield code="n">ebr10898867</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">790892</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Project MUSE</subfield><subfield code="b">MUSE</subfield><subfield code="n">muse40375</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">11997501</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EBA</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| genre | Criticism, interpretation, etc. fast |
| genre_facet | Criticism, interpretation, etc. |
| geographic | Germany Munich fast https://id.oclc.org/worldcat/entity/E39PBJqfMghCdvHbmq8XCcXcfq |
| geographic_facet | Germany Munich |
| id | ZDB-4-EBA-ocn889252506 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:26:09Z |
| institution | BVB |
| isbn | 9781400863785 1400863783 |
| language | English |
| oclc_num | 889252506 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (312 pages) : music |
| psigel | ZDB-4-EBA |
| publishDate | 1994 |
| publishDateSearch | 1994 |
| publishDateSort | 1994 |
| publisher | Princeton University Press, |
| record_format | marc |
| spelling | Crook, David, 1957- author. https://id.oclc.org/worldcat/entity/E39PCjxcPrgHHqrBx3mKVmRWQq http://id.loc.gov/authorities/names/n93092828 Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / David Crook. Princeton, New Jersey : Princeton University Press, [1994] ©1994 1 online resource (312 pages) : music text txt rdacontent computer c rdamedia online resource cr rdacarrier text file Includes bibliographical references (pages 279-288) and index. Print version record. Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Pitch, Clef, and Chord Designations -- Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat -- Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms -- Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria -- Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats -- Chapter 5. The Intertextuality of Lasso's Imitation Magnificats -- Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 -- Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition -- Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension -- Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions -- Works Cited -- Index. After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre. In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. In English. Lasso, Orlando di, 1532-1594. Magnificats. Magnificats (Lasso, Orlando di) fast Magnificat (Music) History and criticism. Church music Germany Munich 16th century. Magnificat (Musique) Histoire et critique. Musique d'église Allemagne Munich 16e siècle. MUSIC History & Criticism. bisacsh MUSIC Instruction & Study Voice. bisacsh MUSIC Lyrics. bisacsh MUSIC Printed Music Vocal. bisacsh Church music fast Magnificat (Music) fast Germany Munich fast https://id.oclc.org/worldcat/entity/E39PBJqfMghCdvHbmq8XCcXcfq 1500-1599 fast Criticism, interpretation, etc. fast has work: Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich (Text) https://id.oclc.org/worldcat/entity/E39PCFWccFC6KppGyhwX9CmFmm https://id.oclc.org/worldcat/ontology/hasWork Print version: Crook, David. Orlando di Lasso's imitation magnificats for Counter-Reformation Munich. Princeton, New Jersey : Princeton University Press, [1994] xii, 295 pages ; 24 cm 9780691601175 (DLC) 10898867 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=790892 Volltext |
| spellingShingle | Crook, David, 1957- Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Pitch, Clef, and Chord Designations -- Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat -- Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms -- Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria -- Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats -- Chapter 5. The Intertextuality of Lasso's Imitation Magnificats -- Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 -- Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition -- Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension -- Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions -- Works Cited -- Index. Lasso, Orlando di, 1532-1594. Magnificats. Magnificats (Lasso, Orlando di) fast Magnificat (Music) History and criticism. Church music Germany Munich 16th century. Magnificat (Musique) Histoire et critique. Musique d'église Allemagne Munich 16e siècle. MUSIC History & Criticism. bisacsh MUSIC Instruction & Study Voice. bisacsh MUSIC Lyrics. bisacsh MUSIC Printed Music Vocal. bisacsh Church music fast Magnificat (Music) fast |
| title | Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / |
| title_alt | Frontmatter -- Contents -- Acknowledgments -- Abbreviations -- Pitch, Clef, and Chord Designations -- Chapter 1. Introduction: Orlando di Lasso and the Polyphonic Magnificat -- Chapter 2. Sixteenth-Century Vespers Polyphony for the Bavarian Court, the Use of Freising, and the Tridentine Reforms -- Chapter 3. The Patrona Bavarian: Music and the Counter-Reformation in Bavaria -- Chapter 4. The Representation of Psalm-Tone Categories in Imitation Magnificats -- Chapter 5. The Intertextuality of Lasso's Imitation Magnificats -- Appendix 1: The Magnificat Set to Lasso's Canticle Tone No. 2 -- Appendix 2: Catalog of Lasso Magnificats with First Publications and Approximate Dates of Composition -- Appendix 3: Instructions for the Elevation of the Image of the Risen Christ after None on Ascension -- Appendix 4: Correspondences between Lasso's Imitation Magnificats and Their Model Compositions -- Works Cited -- Index. |
| title_auth | Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / |
| title_exact_search | Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / |
| title_full | Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / David Crook. |
| title_fullStr | Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / David Crook. |
| title_full_unstemmed | Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / David Crook. |
| title_short | Orlando di Lasso's imitation magnificats for Counter-Reformation Munich / |
| title_sort | orlando di lasso s imitation magnificats for counter reformation munich |
| topic | Lasso, Orlando di, 1532-1594. Magnificats. Magnificats (Lasso, Orlando di) fast Magnificat (Music) History and criticism. Church music Germany Munich 16th century. Magnificat (Musique) Histoire et critique. Musique d'église Allemagne Munich 16e siècle. MUSIC History & Criticism. bisacsh MUSIC Instruction & Study Voice. bisacsh MUSIC Lyrics. bisacsh MUSIC Printed Music Vocal. bisacsh Church music fast Magnificat (Music) fast |
| topic_facet | Lasso, Orlando di, 1532-1594. Magnificats. Magnificats (Lasso, Orlando di) Magnificat (Music) History and criticism. Church music Germany Munich 16th century. Magnificat (Musique) Histoire et critique. Musique d'église Allemagne Munich 16e siècle. MUSIC History & Criticism. MUSIC Instruction & Study Voice. MUSIC Lyrics. MUSIC Printed Music Vocal. Church music Magnificat (Music) Germany Munich Criticism, interpretation, etc. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=790892 |
| work_keys_str_mv | AT crookdavid orlandodilassosimitationmagnificatsforcounterreformationmunich |