The Cambridge History of Seventeenth-Century Music, Volume 1Lecturer in Music Royal Holloway and Bedford New College Tim Carter, Tim Carter, John Butt, Cambridge University Press Cambridge University Press, 2005 M12 22 - 591 pages The Cambridge History of Seventeenth-Century Music seeks to provide the most up-to-date knowledge on seventeenth-century music together with a vital questioning of the way in which such a history can be told or put together for our present purposes. Written by a distinguished team of experts in the field, the chapters not only address traditional areas of knowledge such as opera and church music, but also look at the way this extremely diverse and dynamic musical world has been categorised in the past and how its products are viewed from various cultural points of view. While this history does not depart entirely from the traditional study of musical works and their composers, there is a strong emphasis on the institutions, cultures and politics of the age, together with an interrogation of the ways in which music related to contemporary arts, sciences and beliefs. |
What people are saying - Write a review
We haven't found any reviews in the usual places.
Contents
Renaissance Mannerism Baroque | 1 |
The seventeenthcentury musical work | 27 |
Music in the marketplace | 55 |
Music in new worlds | 88 |
a casestudy in Portuguese expansion and Jesuit patronage | 98 |
vii | 100 |
Music and the arts | 111 |
Music and the sciences | 132 |
sacred songs | 324 |
secular song | 378 |
the solo instrumentalist | 426 |
canzona sonata and concerto | 479 |
The sonata da camera and the proper exercises of nobles | 501 |
Chronology | 533 |
Places and institutions | 547 |
Personalia | 556 |
Other editions - View all
Common terms and phrases
appear aria associated Baroque bass became become beginning called castrato Catholic characters choirs church collection composers composition concerto continued court culture dance developed early edition effect England English ensemble Europe example expressive figures followed four France French genre German Giovanni given History important instruments Italian Italy Jesuit keyboard kind late later least London madrigals major manuscript Mass means modes Monteverdi motets move musicians nature opening opera Oratorio organ organist original Paris particular performance perhaps period pieces play practice present printed produced published recitative Renaissance repertory represented rhetorical Roman Rome royal sacred sense seventeenth century similar singers singing sixteenth solo sonatas song sound sources stage style suggests sung theatre tradition Venice violin vocal voices writing written wrote