Author: Publisher:
ISBN:
Category :
Languages : en
Pages : 608
Book Description
A General History of Music, from the Earliest Ages to the Present Period. To which is Prefixed, a Dissertation on the Music of the Ancients. By Charles Burney, Mus. D. F.R.S. Volume the First [-the Fourth!
Author: A General History Of Music
Author: Charles BurneyPublisher:
ISBN:
Category : Music
Languages : en
Pages : 618
Book Description
A General History of Music, from the Earliest Ages to the Present Period
Author: Charles BurneyGENERAL HISTORY OF MUSIC, FROM THE EARLIEST AGES TO THE PRESENT PERIOD (1789),
Author: CHARLES. BURNEYPublisher:
ISBN: 9781033382660
Category :
Languages : en
Pages : 0
Book Description
A General History of Music, from the Earliest Ages to the Present Period. By Charles Burney, Mus. D.F.R.S. Volume the First [-fourth].
![A General History of Music, from the Earliest Ages to the Present Period. By Charles Burney, Mus. D.F.R.S. Volume the First [-fourth]. PDF](https://books.google.com/books/content/images/frontcover/BYL2zgEACAAJ?fife=w80-h100)
Author: Charles BurneyA General History of Music
Author: Charles BurneyPublisher:
ISBN:
Category : Music
Languages : en
Pages : 1106
Book Description
The First Fleet Piano: Volume One
Author: Geoffrey LancasterPublisher: ANU Press
ISBN: 1922144657
Category : Music
Languages : en
Pages : 919
Book Description
During the late eighteenth century, a musical–cultural phenomenon swept the globe. The English square piano—invented in the early 1760s by an entrepreneurial German guitar maker in London—not only became an indispensable part of social life, but also inspired the creation of an expressive and scintillating repertoire. Square pianos reinforced music as life’s counterpoint, and were played by royalty, by musicians of the highest calibre and by aspiring amateurs alike. On Sunday, 13 May 1787, a square piano departed from Portsmouth on board the Sirius, the flagship of the First Fleet, bound for Botany Bay. Who made the First Fleet piano, and when was it made? Who owned it? Who played it, and who listened? What music did the instrument sound out, and within what contexts was its voice heard? What became of the First Fleet piano after its arrival on antipodean soil, and who played a part in the instrument’s subsequent history? Two extant instruments contend for the title ‘First Fleet piano’; which of these made the epic journey to Botany Bay in 1787–88? The First Fleet Piano: A Musician’s View answers these questions, and provides tantalising glimpses of social and cultural life both in Georgian England and in the early colony at Sydney Cove. The First Fleet piano is placed within the musical and social contexts for which it was created, and narratives of the individuals whose lives have been touched by the instrument are woven together into an account of the First Fleet piano’s conjunction with the forces of history. View ‘The First Fleet Piano: Volume Two Appendices’. Note: Volume 1 and 2 are sold as a set ($180 for both) and cannot be purchased separately.
History of Music, from the Christian Era to the Present Time
Author: Frédéric Louis RitterPublisher:
ISBN:
Category : Music
Languages : en
Pages : 490
Book Description
History of Music from the Christian Era to the Present Time : in the Form of Lectures
Author: Frédéric Louis RitterPublisher: London : W. Reeves, Reeves, & Turner
ISBN:
Category : Gregorian chants
Languages : en
Pages : 484
Book Description
Listening to China
Author: Thomas IrvinePublisher: University of Chicago Press
ISBN: 022666726X
Category : Music
Languages : en
Pages : 272
Book Description
From bell ringing to fireworks, gongs to cannon salutes, a dazzling variety of sounds and soundscapes marked the China encountered by the West around 1800. These sounds were gathered by diplomats, trade officials, missionaries, and other travelers and transmitted back to Europe, where they were reconstructed in the imaginations of writers, philosophers, and music historians such as Jean-Philippe Rameau, Johann Nikolaus Forkel, and Charles Burney. Thomas Irvine gathers these stories in Listening to China, exploring how the sonic encounter with China shaped perceptions of Europe’s own musical development. Through these stories, Irvine not only investigates how the Sino-Western encounter sounded, but also traces the West’s shifting response to China. As the trading relationships between China and the West broke down, travelers and music theorists abandoned the vision of shared musical approaches, focusing instead on China’s noisiness and sonic disorder and finding less to like in its music. At the same time, Irvine reconsiders the idea of a specifically Western music history, revealing that it was comparison with China, the great “other,” that helped this idea emerge. Ultimately, Irvine draws attention to the ways Western ears were implicated in the colonial and imperial project in China, as well as to China’s importance to the construction of musical knowledge during and after the European Enlightenment. Timely and original, Listening to China is a must-read for music scholars and historians of China alike.