Author: Richard T. PinnellPublisher: U M I Research Press
ISBN:
Category : Music
Languages : en
Pages : 296
Book Description
Francesco Corbetta and the Baroque Guitar
Author: Richard T. PinnellPublisher: U M I Research Press
ISBN:
Category : Music
Languages : en
Pages : 296
Book Description
Francesco Corbetta and the Baroque Guitar
Author: Richard T. PinnellThe Cambridge Companion to the Guitar
Author: Victor CoelhoPublisher: Cambridge University Press
ISBN: 9780521000406
Category : Music
Languages : en
Pages : 284
Book Description
From its origins in the culture of late medieval Europe to enormous global popularity in the twentieth, the guitar and its development comprise multiple histories, each characterized by distinct styles, playing techniques, repertories, and socio-cultural roles. These histories simultaneously span popular and classical styles, contemporary and historical practices, written and unwritten traditions, and Western and non-Western cultures. This is the first book to encompass the breadth and depth of guitar performance, featuring twelve essays covering different traditions, styles, and instruments, written by some of the most influential players, teachers, and guitar historians in the world. The coverage of the book allows the player to understand both the analogies and the differences between guitar traditions; all styles--from baroque, classical, country, blues, and rock to flamenco, African, and Celtic--will share the same platform, along with instrument making. As musical training is increasingly broadened this comprehensive book will become an indispensable resource.
A Guide to Playing the Baroque Guitar
Author: James TylerPublisher: Indiana University Press
ISBN: 0253005019
Category : Music
Languages : en
Pages : 173
Book Description
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.
Italian Guitar Music of the Seventeenth Century
Author: Lex EisenhardtPublisher: Boydell & Brewer
ISBN: 1580465331
Category : Music
Languages : en
Pages : 268
Book Description
One of Europe's foremost experts on early guitar music explores this little known but richly rewarding repertoire.
The Guitar from the Renaissance to the Present Day
Author: Harvey TurnbullA Concise History of the Classic Guitar
Author: Graham WadePublisher: Mel Bay Publications
ISBN: 160974280X
Category : Music
Languages : en
Pages : 225
Book Description
A Concise History of the Classic Guitar by Graham Wade, one of the foremost international writers on the guitar, explores the history of the instrument from the 16th century to the present day. This compact assessment of five centuries of fretted instruments cover the vihuela in Spain, the history of four-course and five-course guitars, the evolution of tablature, and developments in the six-string guitar in the 19th century. the work also charts the contribution of leading composers, performers and luthiers of the 20th century, and evaluates the influence of Segovia, Llobet, Pujol, Presti, Bream, Williams, etc., among the world's famous guitarists. This book, intended for the general public and guitar students of all ages, is the first interpretative history of the classic guitar to be published in the 21st century, and will be eagerly welcomed by all lovers of the instrument.
Companion to Baroque Music
Author: Julie Anne SadiePublisher: OUP Oxford
ISBN: 0198167040
Category : Music
Languages : en
Pages : 586
Book Description
Not just Bach and Handel, but Vivaldi and Monteverdi, Couperin and Rameau, Purcell and Schutz are familiar and loved figures of the baroque era. This survey offers perspectives on these men, and the times in which they lived. to all those who are attracted by the music of that crucial century and a half, 1600-1750, which we call the Baroque era.
Dance Rhythms of the French Baroque
Author: Betty Bang MatherPublisher: Music: Scholarship and Perform
ISBN:
Category : Music
Languages : en
Pages : 360
Book Description
Dance Music of the French Baroque brings together information on rhythm from the interrelated fields of music, dance, poetry, rhetoric, and philosophy. Part I is devoted to the various factors involved in dance rhythms, including tempos, rhythmic feet, dance steps, declamation of lyrics, instrumental articulation, and performance of ornaments. Part II describes in alphabetic order the fifteen most frequently encountered dances of the period and identifies the most typical performance of each in relation to the factors discussed in Part I. With reference to numerous illustrations and musical examples, it clearly conveys the manner in which the allemandes, bourées, chaconnes, gigues, etc., may be executed. This practical book presents a myriad of information in a form that is easy to use yet as graceful as the dances it describes.
Desire and Pleasure in Seventeenth-Century Music
Author: Susan McClaryPublisher: Univ of California Press
ISBN: 0520952065
Category : Music
Languages : en
Pages : 239
Book Description
In this book, Susan McClary examines the mechanisms through which seventeenth-century musicians simulated extreme affective states—desire, divine rapture, and ecstatic pleasure. She demonstrates how every major genre of the period, from opera to religious music to instrumental pieces based on dances, was part of this striving for heightened passions by performers and listeners. While she analyzes the social and historical reasons for the high value placed on expressive intensity in both secular and sacred music, and she also links desire and pleasure to the many technical innovations of the period. McClary shows how musicians—whether working within the contexts of the Reformation or Counter-Reformation, Absolutists courts or commercial enterprises in Venice—were able to manipulate known procedures to produce radically new ways of experiencing time and the Self.