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. |
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Strona 14
... rubric would seem to apply to everything that follows , including the sacri concentus , though the latter , apart from the Sonata sopra Sancta Maria , are not based on cantus firmi . Aside from questions about the role of the sacri ...
... rubric would seem to apply to everything that follows , including the sacri concentus , though the latter , apart from the Sonata sopra Sancta Maria , are not based on cantus firmi . Aside from questions about the role of the sacri ...
Strona 21
... rubric after the Magnificat ) . The result , though , is a series of antiphons that do not represent any single liturgical service . Stevens explained the presence of two Magnificats in the print ( the Magnificat a 6 was omitted from ...
... rubric after the Magnificat ) . The result , though , is a series of antiphons that do not represent any single liturgical service . Stevens explained the presence of two Magnificats in the print ( the Magnificat a 6 was omitted from ...
Strona 25
... rubric Vespro delta B. Vergine da concerto , composto sopra canti fermi , he stated unequivocally , The sequence of the vesper movements in the printed edition follows strictly the liturgical order of a vesper [ 51c ] , so that we find ...
... rubric Vespro delta B. Vergine da concerto , composto sopra canti fermi , he stated unequivocally , The sequence of the vesper movements in the printed edition follows strictly the liturgical order of a vesper [ 51c ] , so that we find ...
Strona 27
... rubric Vespro della Beata Vergine or the rubrics De Beata Vergine or Vespro della Madonna found in other prints ( see Chapters 3 and 4 ) . I also see no incompatibility in Monteverdi's print serving for both a liturgical service and a ...
... rubric Vespro della Beata Vergine or the rubrics De Beata Vergine or Vespro della Madonna found in other prints ( see Chapters 3 and 4 ) . I also see no incompatibility in Monteverdi's print serving for both a liturgical service and a ...
Strona 32
... rubric Vespro della Beata Vergine . Dixon's assumptions at least provide an explanation for the inclusion of the motet Duo Seraphim in the 1610 print , without , however , resolving the question of the relationship of its Trinitarian ...
... rubric Vespro della Beata Vergine . Dixon's assumptions at least provide an explanation for the inclusion of the motet Duo Seraphim in the 1610 print , without , however , resolving the question of the relationship of its Trinitarian ...
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.