The Monteverdi Vespers of 1610 : Music, Context, Performance: Music, Context, PerformanceClarendon Press, 6 sty 2000 - 624 This is a thorough-going study of Monteverdi's Vespers, the single most significant and most widely known musical print from before the time of J.S. Bach. The author examines Monteverdi's Vespers from multiple perspectives, combining his own research with all that is known and thought of the Vespers by other scholars. The historical origin as well as the musical and liturgical context of the Vespers are surveyed; similarly the controversial historiography of the Vespers in the nineteenth and twentieth centuries is scrutinized and evaluated. A series of analytical chapters attempt to clarify Monteverdi's compositional process and the relationship between music and text in the light of recent research on modal and tonal aspects of early seventeenth century music. The final section is devoted to thirteen chapters investigating performance practice issues of the early seventeenth century and their application to the Vespers, including general and specific recommendations for performance where appropriate. The book concludes with a series of informational appendices, including the psalm cursus for Vespers of all major feasts in the liturgical calendar, texts, and structural outlines for the Vespers compositions based on a cantus firmus, an analytical discography, and bibliographies of seventeenth-century musical and theoretical sources. |
Z wnętrza książki
Wyniki 1 - 5 z 77
Strona vii
... performance practice issues as they related to the Vespers , but as I delved ever deeper into per- formance practice of the late Renaissance and early Seicento , the material grew well beyond the scope of an introduction . Since I had ...
... performance practice issues as they related to the Vespers , but as I delved ever deeper into per- formance practice of the late Renaissance and early Seicento , the material grew well beyond the scope of an introduction . Since I had ...
Strona ix
... practice issues raised by the Vespers , treating them one at a time . Performance practice questions are often quite complicated , and the ... performance practice section or individual chapters on specific performance practice Preface ix.
... practice issues raised by the Vespers , treating them one at a time . Performance practice questions are often quite complicated , and the ... performance practice section or individual chapters on specific performance practice Preface ix.
Strona x
Music, Context, Performance Jeffrey Kurtzman. performance practice section or individual chapters on specific performance practice topics helpful . The materials in the appendices allow for a variety of quick references to various ...
Music, Context, Performance Jeffrey Kurtzman. performance practice section or individual chapters on specific performance practice topics helpful . The materials in the appendices allow for a variety of quick references to various ...
Strona xii
... Performance Practice : Music after 1600 in Chapters 8 and 22 re- spectively , and Harold Copeman likewise gave his kind permission for me to publish tables from his book Singing in Latin in Chapter 23. Permission to pub- lish Examples ...
... Performance Practice : Music after 1600 in Chapters 8 and 22 re- spectively , and Harold Copeman likewise gave his kind permission for me to publish tables from his book Singing in Latin in Chapter 23. Permission to pub- lish Examples ...
Strona xv
... 293 308 325 III . PERFORMANCE PRACTICE II . A Philosophical Note on Historical Performance Practice 347 12. Continuo Instruments 354 13. Organs and Organ Registration 358 14. Continuo Realization 15. Voices and Choirs 16. Vocal Style.
... 293 308 325 III . PERFORMANCE PRACTICE II . A Philosophical Note on Historical Performance Practice 347 12. Continuo Instruments 354 13. Organs and Organ Registration 358 14. Continuo Realization 15. Voices and Choirs 16. Vocal Style.
Spis treści
11 | |
The Liturgy of Vespers and the Antiphon Problem | 56 |
A Brief History of Vespers in the Sixteenth Century | 79 |
A Comparison | 99 |
THE MUSIC | 110 |
A Preliminary Note on Analytical Method and Terminology | 185 |
The Response | 202 |
The Magnificats | 256 |
Vocal Style | 386 |
Pitch and Transposition | 404 |
Obbligato Instruments | 412 |
Instrumental Doubling and Substitution for Vocal Parts | 423 |
Metre and Tempo | 433 |
Vocal and Instrumental Ornamentation | 467 |
Tuning and Temperament | 488 |
Historical Pronunciation | 495 |
The Hymn and | 293 |
Nigra sum | 308 |
Pulchra | 325 |
A Philosophical Note on Historical Performance Practice | 347 |
Continuo Instruments | 354 |
Continuo Realization | 367 |
Voices and Choirs | 376 |
Appendix B Rubrics Regarding Vespers and Marian Antiphons | 503 |
Discography | 515 |
Appendix E Sixteenth and SeventeenthCentury Musical Sources | 525 |
Appendix F Theoretical Treatises of the Sixteenth and Seventeenth | 542 |
Index of Text Incipits and Composition Titles | 573 |
General Index | 592 |
Inne wydania - Wyświetl wszystko
The Monteverdi Vespers of 1610: Music, Context, Performance Jeffrey G. Kurtzman Podgląd niedostępny - 1999 |
Kluczowe wyrazy i wyrażenia
Adriano Banchieri ALTUS Audi coelum Ave maris stella Banchieri bars bass basso continuo BASSUS GENERALIS cadence cadential cantus firmus cappella chant choir chord church Claudio Monteverdi composers compositions Concerti cornettos cursus discussion Dixit Dominus duet Duo Seraphim duple Early Music early seventeenth century falsibordoni feasts Francesco Giacomo Vincenti Giovanni harmonic hymn Ibid imitative instruments Italian Laetatus sum Lauda Jerusalem Laudate pueri liturgical maestro Magnificat Magnificat tone Mantua melismas melodic mode Monteverdi's Monteverdi's Vespers motets Nigra sum Nisi Dominus notated note values octave organ ornamentation passage passaggi performance practice phrase pieces pitch plainchant plainchant antiphons Polychoral polyphonic Praetorius psalm tone Pulchra reciting note RISM ritornello rubric Salmi Sancta Maria Santa Barbara semibreve settings sextus Sicut singers singing sixteenth solo soloists Sonata sopra Sancta soprano style sung tactus tempo tenor texture tonal trans transposed transposition triple metre trombones Venice verses vibrato violins virtuoso vocal voci vocibus voices
Popularne fragmenty
Strona 511 - Magnificat anima mea Dominum; Et exultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent omnes generationes Quia fecit mihi magna qui potens est, et sanctum nomen ejus.
Strona 320 - I am the true vine, and my Father is the husbandman. Every branch in me that beareth not fruit, he taketh away ; and every branch that beareth fruit, he purgeth it, that it may bring forth more fruit.
Strona 507 - I was glad when they said to me, "Let us go to the house of the LORD!
Strona 507 - LORD, unto the testimony of Israel, to give thanks unto the name of the LORD. 5 For there are set thrones of judgment, the thrones of the house of David. 6 Pray for the peace of Jerusalem : they shall prosper that love thee. 7 Peace be within thy walls, and prosperity within thy palaces. 8 For my brethren and companions' sakes, I will now say, Peace be within thee.
Strona 332 - Quoniam tres sunt, qui testimonium dant in coelo : Pater, Verbum, et Spiritus sanctus; et hi tres n,mm sunt.
Strona 332 - For there are three that bear witness in heaven: the Father, the Word, and the Holy Spirit; and these three are one.