Author: Publisher:
ISBN:
Category :
Languages : en
Pages : 18
Book Description
The Battle of Prague, a favorite sonata, for the piano forte
Author: Franz KotzwaraThe Battle of Prague: A Sonata for the Piano Forte or Harpsichord, with Accompaniments for a Violin, Bass, etc. [By F. Kotzwara. Parts.]
![The Battle of Prague: A Sonata for the Piano Forte or Harpsichord, with Accompaniments for a Violin, Bass, etc. [By F. Kotzwara. Parts.] PDF](https://books.google.com/books/content/images/frontcover/nV6bQdxelp0C?fife=w80-h100)
Author: The Battle of Prague
Author: Franz KotzwaraPublisher:
ISBN:
Category : Harpsichord music (4 hands), Arranged
Languages : en
Pages : 16
Book Description
The Bastile, a favorite sonata for the harpsichord or piano forte
Author: The National Union Catalog, Pre-1956 Imprints
Author: Library of CongressPublisher:
ISBN:
Category : Catalogs, Union
Languages : en
Pages : 712
Book Description
The Catalogue of Printed Music in the British Library to 1980
Author: British Library. Department of Printed BooksPublisher:
ISBN:
Category : Music
Languages : en
Pages : 464
Book Description
American Bibliography: 1793-1794
Author: Charles EvansPublisher:
ISBN:
Category : American literature
Languages : en
Pages : 510
Book Description
George P. Knauff's Virginia Reels and the History of American Fiddling
Author: Chris GoertzenPublisher: Univ. Press of Mississippi
ISBN: 1496814282
Category : Music
Languages : en
Pages : 237
Book Description
George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. Chris Goertzen uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. He first discusses the life of the arranger. Then he explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. Goertzen describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout the book, the author connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy—old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. Goertzen incorporates performance descriptions and music terminology into his accessible, engaging prose. Unlike the vast majority of books on American fiddling—regional tune collections or histories—this book presents an extended look at the history of southern fiddling and a close examination of current practices.
British Music and the French Revolution
Author: Paul F. RicePublisher: Cambridge Scholars Publishing
ISBN: 1443821802
Category : Performing Arts
Languages : en
Pages : 401
Book Description
British Music and the French Revolution investigates the nature of British musical responses to the cataclysmic political events unfolding in France during the period of 1789–1795, a time when republican and royalist agendas were in conflict in both nations. While the parallel demands for social and political change resulted from different stimuli, and were resolved very differently, the 1790s proved to be a defining period for each country. In Britain, the combination of a protracted period of Tory conservatism, and the strong spirit of patriotism which swept the nation, had a profound influence on the arts. There was an outpouring of concert and theatrical music dealing with the French Revolution and the subsequent war with France. While patriotic songs might be expected when a country is at war, the number of recreations on the London stages of events taking place on the Continent may surprise. Initially, such topical subjects were restricted to the summer or “minor” theatres; however, government restrictions were relaxed after 1793, giving Londoners the opportunity to see topical theatre in the royal or “patent” theatres, as well. The resulting repertoire of plays and recreations (often propagandist in nature) made considerable use of music, and those performed in the “minor” theatres were all-sung. Consequently, there exists a large repertoire of music which has been little studied. British Music and the French Revolution investigates this repertoire within a social and political context. Initial chapters examine the historical relationship between France and Britain from a musical perspective, the powerful symbols of national identity in both countries, and the complex laws that governed commercial theatres in London. Thereafter, the materials are presented in a chronological fashion, starting with the fall of the Bastille in 1789, and the Fête de la Fédération in 1790. The period of the Captivity was one of growing tension and fear in both France and Britain as war became an ever-increasing threat between the two nations. Two subsequent chapters examine the war years of 1793 until first half of 1795. The choice of a five-year period allows the reader to follow British musical reactions to the fall of the Bastille and subsequent events up to the rise of Napoléon.
Secular Music in America, 1801-1825
Author: Richard J. WolfePublisher:
ISBN:
Category : Composers
Languages : en
Pages : 496
Book Description