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Music in the Eighteenth Century [Minkštas viršelis]

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Series edited by (Columbia University),
  • Formatas: Paperback / softback, 336 pages, aukštis x plotis x storis: 234x157x20 mm, weight: 568 g
  • Serija: Western Music in Context: A Norton History
  • Išleidimo metai: 08-Jan-2013
  • Leidėjas: WW Norton & Co
  • ISBN-10: 0393929183
  • ISBN-13: 9780393929188
Kitos knygos pagal šią temą:
  • Formatas: Paperback / softback, 336 pages, aukštis x plotis x storis: 234x157x20 mm, weight: 568 g
  • Serija: Western Music in Context: A Norton History
  • Išleidimo metai: 08-Jan-2013
  • Leidėjas: WW Norton & Co
  • ISBN-10: 0393929183
  • ISBN-13: 9780393929188
Kitos knygos pagal šią temą:
Musicologist Rice provides a textbook for music majors on Western music between 1715 and 1815 within its historical, social, intellectual, and cultural contexts. Rather than focusing only on musical style and individual composers, the volume, like others in the series, addresses the ways music has been commissioned, created, and consumed in public and private spheres; the role of technology in its creation and transmission; the role of women as composers, performers, and patrons; the relationship between music and national or ethnic identity; and the training and education of musicians in private and institutional settings. Focus is on musical life in Europe, with some information on the European colonies of the New World. Chapters are organized chronologically and geographically. The text emphasizes the links between the gallant style of pioneers like Pergolesi and Hasse and the works of Haydn, Mozart, and Beethoven, providing a bit less on these well-known composers than other texts. A supplemental anthology of musical works is available. Annotation ©2013 Book News, Inc., Portland, OR (booknews.com)

Eighteenth Century Music in its cultural, social, and intellectual contexts.

Anthology Repertoire x
Series Editor's Preface xiii
Author's Preface xv
Chapter 1 The Encyclopedic Century
1(15)
The Grand Tour
4(1)
The "Fish-Tail"
5(1)
Demographics and Religion
6(4)
A Musicological Grand Tour
10(4)
For Further Reading
14(2)
Chapter 2 Learned and Galant
16(14)
Old and New Musical Styles
19(3)
Binary and Da Capo Form: Musical Common Ground
22(1)
Coexistence and Interaction of Styles
23(4)
Teaching and Learning
27(2)
For Further Reading
29(1)
Chapter 3 Naples
30(14)
Musical Education
32(3)
The Musico and Vocal Improvisation
35(2)
Theaters
37(1)
The Austrians in Naples, Vinci, and the Emergence of the Galant Style
38(3)
Pergolesi and the Comic Intermezzo
41(2)
For Further Reading
43(1)
Chapter 4 Carnival Opera in Rome and Venice
44(15)
Metastasio and Opera Seria
45(4)
Theatrical Transvestism and the Roman Carnival: Latilla's La finta cameriera
49(5)
Venetian Ospedali
54(1)
"I Boast of My Strength": The Life and Music of Caterina Gabrielli
55(3)
For Further Reading
58(1)
Chapter 5 Instrumental Music in Italy and Spain
59(14)
The Operatic Sinfonia, the Symphony, and the Orchestra
60(2)
The Piano
62(4)
Domenico Scarlatti
66(3)
Boccherini and the Music Publishing Business
69(3)
For Further Reading
72(1)
Chapter 6 Paris of the Ancien Regime
73(15)
Tragedie Lyrique at the Opera
75(1)
Opera Comique
76(6)
Instrumental Music in Parisian Salons
82(2)
Public Concerts and the Chevalier de Saint-Georges
84(3)
For Further Reading
87(1)
Chapter 7 Georgian London
88(18)
Metropolis on the Thames
88(2)
Ballad Opera
90(3)
Italian Opera
93(6)
Public Concerts
99(2)
"Ancient" and Modern Instrumental Music
101(4)
For Further Reading
105(1)
Chapter 8 Vienna under Empress Maria Theresa
106(16)
The Court Theater and the Theater at the Karntnertor
108(1)
Crisis, Reform, and a New Court Theater
108(2)
Maria Theresa as Musician and Patron
110(3)
Gluck and Viennese Opera Comique
113(1)
Operatic Reform and Orfeo ed Euridice
114(2)
Church Music: Vanhal's Missa Pastoralis
116(2)
Women at the Keyboard
118(3)
For Further Reading
121(1)
Chapter 9 Leipzig and Berlin
122(17)
Leipzig in 1750
122(2)
Hiller as Organizer of Concerts and Composer of Singspiele
124(2)
A Musician-King's Violent Coming of Age
126(4)
Frederick's Opera Company and Graun's Montezuma
130(4)
Carl Philipp Emanuel Bach
134(4)
For Further Reading
138(1)
Chapter 10 Courts of Central Europe: Mannheim, Bayreuth, and Eisenstadt/Eszterhaza
139(14)
Carl Theodor and Stamitz at Mannheim
140(3)
Margravine Wilhelmina and Anna Bon at Bayreuth
143(3)
Joseph Haydn in Vienna and Eisenstadt
146(3)
Haydn at Eszterhaza and the Farewell Symphony
149(3)
For Further Reading
152(1)
Chapter 11 Galant Music in the New World
153(18)
The Gold Cities of Minas Gerais
156(6)
An Italian Musician in Mexico City
162(1)
The Slave Colony of Jamaica and Samuel Felsted's Jonah
163(3)
Music for the Moravian Lovefeast
166(3)
For Further Reading
169(2)
Chapter 12 St. Petersburg under Catherine the Great
171(15)
Catherine the Great as Operatic Patron
174(4)
Music and the Nobility: Nicholas and Prascovia
178(2)
Giuseppe Sarti, Dmitry Bortniansky, and Russian Church Music
180(2)
The Russian Horn Band
182(1)
John Field's Forward-Looking Piano Music
183(2)
For Further Reading
185(1)
Chapter 13 Foreigners in Paris: Gluck, Mozart, Salieri, Cherubini
186(14)
Gluck at the Opera
186(4)
Mozart in Paris's Salons and Concert Rooms
190(3)
Antonio Salieri and Les Danaides
193(1)
Luigi Cherubini and the French Revolution
194(5)
For Further Reading
199(1)
Chapter 14 Mozart's Vienna
200(22)
Joseph as Enlightened Monarch
201(4)
New Patterns of Patronage
205(1)
Public Concerts
206(4)
Music in the Home
210(6)
Opera Buffa
216(4)
For Further Reading
220(2)
Chapter 15 Prague
222(15)
In the Shadow of White Mountain
222(3)
Italian Opera
225(1)
Mozart in Prague
226(2)
Don Giovanni
228(5)
A Coronation Opera for the "German Titus"
233(3)
For Further Reading
236(1)
Chapter 16 London in the 1790s
237(17)
Rival Concert Series
237(2)
Haydn's First Visit to England
239(7)
Haydn's Second Visit
246(7)
For Further Reading
253(1)
Chapter 17 Vienna in the Napoleonic Era
254
Beethoven in Vienna: The 1790s
256(3)
Gottfried van Swieten and Haydn's The Seasons
259(1)
The Triumph of Cherubini's Les Deux Journees
260(1)
Church Music as Counter-Revolutionary Symbol
261(3)
Beethoven's Heroic Style
264(6)
The Pastoral Symphony as Celebration of the Enlightenment
270(4)
For Further Reading
274
Glossary 1(8)
Endnotes 9(8)
Credits 17(2)
Index 19
John Rice has taught at the University of Washington, Colby College, the University of Houston, the University of Texas at Austin, the University of Alabama, and the University of Pittsburgh. His writings include Mozart on the Stage, Antonio Salieri and Viennese Opera, and Empress Marie Therese and Music at the Viennese Court, 17921807. He is the recipient of the American Musicological Societys Otto Kinkeldey Prize and fellowships from the National Endowment for the Humanities and the American Philosophical Society. Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 19031908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.