Communication in Eighteenth-Century Music
Herausgeber: Agawu, Kofi; Mirka, Danuta
Communication in Eighteenth-Century Music
Herausgeber: Agawu, Kofi; Mirka, Danuta
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In this book, ten leading scholars of music explore the nature of musical communication in the eighteenth century.
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In this book, ten leading scholars of music explore the nature of musical communication in the eighteenth century.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 356
- Erscheinungstermin: 15. Mai 2012
- Englisch
- Abmessung: 244mm x 170mm x 19mm
- Gewicht: 615g
- ISBN-13: 9781107406957
- ISBN-10: 1107406951
- Artikelnr.: 35893561
- Verlag: Cambridge University Press
- Seitenzahl: 356
- Erscheinungstermin: 15. Mai 2012
- Englisch
- Abmessung: 244mm x 170mm x 19mm
- Gewicht: 615g
- ISBN-13: 9781107406957
- ISBN-10: 1107406951
- Artikelnr.: 35893561
Foreword Danuta Mirka; Part I. Communication and the Market: 1.
Communication and verisimilitude in the eighteenth century Paul Cobley; 2.
Listening to listeners Mark Evan Bonds; 3. 'Mannichfaltige abweichungen von
der gewöhnlichen sonaten-form': Beethoven's 'Piano-Solo' op. 31 no. 1 and
the challenge of communication Claudia Maurer Zenck; Part II. Musical
Grammar: 4. Metre, phrase structure and manipulations of musical beginnings
Danuta Mirka; 5. National metrical types in music of the eighteenth and
early nineteenth centuries William Rothstein; 6. Schoenberg's 'Second
Melody', or, 'Meyer-ed' in the bass William E. Caplin; Part III. Rhetorical
Form and Topical Decorum: 7. A metaphoric model of sonata form: two
expositions by Mozart Michael Spitzer; 8. Beethoven's op. 18 no. 3, First
Movement: two readings, with a comment on analysis Kofi Agawu; 9. K331,
First Movement: once more, with feeling Wye J. Allanbrook; 10. Dance topoi,
sonic analogs and musical grammar: communicating with music in the
eighteenth century Lawrence Zbikowski; Afterword Kofi Agawu.
Communication and verisimilitude in the eighteenth century Paul Cobley; 2.
Listening to listeners Mark Evan Bonds; 3. 'Mannichfaltige abweichungen von
der gewöhnlichen sonaten-form': Beethoven's 'Piano-Solo' op. 31 no. 1 and
the challenge of communication Claudia Maurer Zenck; Part II. Musical
Grammar: 4. Metre, phrase structure and manipulations of musical beginnings
Danuta Mirka; 5. National metrical types in music of the eighteenth and
early nineteenth centuries William Rothstein; 6. Schoenberg's 'Second
Melody', or, 'Meyer-ed' in the bass William E. Caplin; Part III. Rhetorical
Form and Topical Decorum: 7. A metaphoric model of sonata form: two
expositions by Mozart Michael Spitzer; 8. Beethoven's op. 18 no. 3, First
Movement: two readings, with a comment on analysis Kofi Agawu; 9. K331,
First Movement: once more, with feeling Wye J. Allanbrook; 10. Dance topoi,
sonic analogs and musical grammar: communicating with music in the
eighteenth century Lawrence Zbikowski; Afterword Kofi Agawu.
Foreword Danuta Mirka; Part I. Communication and the Market: 1.
Communication and verisimilitude in the eighteenth century Paul Cobley; 2.
Listening to listeners Mark Evan Bonds; 3. 'Mannichfaltige abweichungen von
der gewöhnlichen sonaten-form': Beethoven's 'Piano-Solo' op. 31 no. 1 and
the challenge of communication Claudia Maurer Zenck; Part II. Musical
Grammar: 4. Metre, phrase structure and manipulations of musical beginnings
Danuta Mirka; 5. National metrical types in music of the eighteenth and
early nineteenth centuries William Rothstein; 6. Schoenberg's 'Second
Melody', or, 'Meyer-ed' in the bass William E. Caplin; Part III. Rhetorical
Form and Topical Decorum: 7. A metaphoric model of sonata form: two
expositions by Mozart Michael Spitzer; 8. Beethoven's op. 18 no. 3, First
Movement: two readings, with a comment on analysis Kofi Agawu; 9. K331,
First Movement: once more, with feeling Wye J. Allanbrook; 10. Dance topoi,
sonic analogs and musical grammar: communicating with music in the
eighteenth century Lawrence Zbikowski; Afterword Kofi Agawu.
Communication and verisimilitude in the eighteenth century Paul Cobley; 2.
Listening to listeners Mark Evan Bonds; 3. 'Mannichfaltige abweichungen von
der gewöhnlichen sonaten-form': Beethoven's 'Piano-Solo' op. 31 no. 1 and
the challenge of communication Claudia Maurer Zenck; Part II. Musical
Grammar: 4. Metre, phrase structure and manipulations of musical beginnings
Danuta Mirka; 5. National metrical types in music of the eighteenth and
early nineteenth centuries William Rothstein; 6. Schoenberg's 'Second
Melody', or, 'Meyer-ed' in the bass William E. Caplin; Part III. Rhetorical
Form and Topical Decorum: 7. A metaphoric model of sonata form: two
expositions by Mozart Michael Spitzer; 8. Beethoven's op. 18 no. 3, First
Movement: two readings, with a comment on analysis Kofi Agawu; 9. K331,
First Movement: once more, with feeling Wye J. Allanbrook; 10. Dance topoi,
sonic analogs and musical grammar: communicating with music in the
eighteenth century Lawrence Zbikowski; Afterword Kofi Agawu.