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Performing baroque music
For listeners, performers, students and teachers, 'Performing Baroque Music' provides the analytical tools needed to understand and interpret music from this period.
Book
Listening as spiritual practice in early modern Italy
The early seventeenth century, when the first operas were written and technical advances with far-reaching consequences—such as tonal music—began to develop, is also notable for another shift: the displacement of aristocratic music-makers by a new professional class of performers. In this book, Andrew Dell’Antonio looks at a related phenomenon: the rise of a cultivated audience whose skill involved listening rather than playing or singing. Drawing from contemporaneous discourses and other commentaries on music, the visual arts, and Church doctrine, Dell'Antonio links the new ideas about cultivated listening with other intellectual trends of the period: humanistic learning, contemplative listening (or watching) as an active spiritual practice, and musical mysticism as an ideal promoted by the Church as part of the Catholic Reformation.
eBook
The Cambridge companion to seventeenth-century opera
This companion offers an in-depth introduction to the early history of opera by focusing on its foundational century. From opera's Italian origins to its growth through Europe and the Americas, the volume charts the changing landscape - on stage and beyond - which shaped the way early opera was produced and received.
Book
The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries
Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.
Contents: Preface; Stylus Phantasticus and Stylus Hyporchematicus: concepts of instrumental music in late 17th-century Central and East-Central Europe; Johann Heinrich Schmeltzer (c.1620/23-80) and music at the Viennese court; The chapel of Prince-Bishop Carl Liechtenstein-Castelcorn; Biber and Muffat at Salzburg; The dissemination and dissolution of the Stylus Phantasticus; Appendices; Select bibliography; Index.
Charles E. Brewer is Associate Professor of Musicology at The College of Music of The Florida State University and Director of the Early Music Ensembles. His research interests have focused on the broader questions of music and culture both during the Middle Ages and Baroque period. Beginning with his dissertation on the music of medieval Poland, much of his published work has been focused on the early music of Central and East Central Europe. He has worked in many of the archives and libraries in the Czech Republic, Hungary, Poland, and Slovakia with the support of the Fulbright-Hays Commission, the International Research and Exchanges Board, the Martha Baird Rockefeller Fund for Music, and the National Endowment for the Humanities. He is also an avid performer on early keyboard instruments and is currently editing a number of unpublished sonatas by C.P.E. Bach.
eBook
Historical dictionary of baroque music
Although it lies far back, running roughly from about 1600 to 1750, the Baroque period is far from forgotten and Baroque music is played widely today as well, exercising numerous musicians and attracting rather substantial audiences. It experienced the emergence of a new sort of music, increasingly secular and increasingly good listening, if you will, and also the start of opera. Some of the Baroque composers appear among the most popular of all time, such as Bach, Handel and Vivaldi. So yes, this is a book for researchers, but it is also a good book for anyone who enjoys this music. The Historical Dictionary of Baroque Music certainly fills a significant space in the whole sub-series on music, since it tells us much more not only about the music but also the age that generated it. This is done particularly well in an insightful introduction, with the flow of events traced by the chronology. The dictionary section fills in the missing details with over 400 entries on the most important composers and musicians, some of the musical works themselves, important places and institutions, and a smattering of technical terms. The bibliography directs us to further reading.
eBook
A guide to playing the baroque guitar
James Tyler offers a practical manual to aid guitar players and lutenists
in transitioning from modern stringed instruments to the baroque guitar. He begins
with the physical aspects of the instrument, addressing tuning and stringing
arrangements and technique before considering the fundamentals of baroque guitar
tablature. In the second part of the book Tyler provides an anthology of
representative works from the repertoire. Each piece is introduced with an
explanation of the idiosyncrasies of the particular manuscript or source and
information regarding any performance practice issues related to the piece itself --
represented in both tablature and staff notation. Tyler's thorough yet practical
approach facilitates access to this complex body of work.
eBook
Musical Creativity in Restoration England
Musical Creativity in Restoration England is the first comprehensive investigation of approaches to creating music in late seventeenth-century England. Understanding creativity during this period is particularly challenging because many of our basic assumptions about composition – such as concepts of originality, inspiration and genius – were not yet fully developed. In adopting a new methodology that takes into account the historical contexts in which sources were produced, Rebecca Herissone challenges current assumptions about compositional processes and offers new interpretations of the relationships between notation, performance, improvisation and musical memory. She uncovers a creative culture that was predominantly communal, and reveals several distinct approaches to composition, determined not by individuals, but by the practical function of the music. Herissone's new and original interpretations pose a fundamental challenge to our preconceptions about what it meant to be a composer in the seventeenth century and raise broader questions about the interpretation of early modern notation.
eBook