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First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
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First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Produktdetails
- Produktdetails
- Musicology
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 504
- Erscheinungstermin: 17. Januar 2019
- Englisch
- Abmessung: 254mm x 178mm x 26mm
- Gewicht: 956g
- ISBN-13: 9781138990494
- ISBN-10: 1138990493
- Artikelnr.: 52961427
- Musicology
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 504
- Erscheinungstermin: 17. Januar 2019
- Englisch
- Abmessung: 254mm x 178mm x 26mm
- Gewicht: 956g
- ISBN-13: 9781138990494
- ISBN-10: 1138990493
- Artikelnr.: 52961427
J. Knowles
Principal Publications of Paul Brainard; Some Considerations of the Sources
of Cristobal Galan's Music; The Speaking Body: Gaspero Angiolini's
Rhetorique Muette and the Ballet d'Action in the Eighteenth Century;
Costanzo Festa's lnviolata, integra et casta es Maria: a Double Homage
Motet; Bach, Theology, and Harmony: A New Look at the Arias; The Symphony
and the Artist's Creed: Camille Saint-Saens and His Third Symphony; The
Letter as Convention in Seventeenth-Century Venetian Opera; Poetic and
Musical Forms in the Laude of Innocenti us Dammonis; Melody and Motive in
Schenker's Earliest Writings; Twins, Cousins, and Heirs: Relationships
among Editions of Music Printed in Sixteenth-Century Venice; Rhetoric,
Rhythm, and Harmony as Keys to Schlitz's Saul, Saul, was verfolgst du mich?
Bach's tempo ordinaria: A Plaine and Easie Introduction to the System;
Amorous Dialogues: Poetic Topos and Polyphonic Texture in Some Polytextual
Songs of the Late Middle Ages; The Violins in Bach's St. John Passion;
French Opera in Transition: Silvie ( 1765) by Trial and Berton; Kindling
the Compositional Fire: Haydn's Keyboard Phantasiren; When Sources Seem to
Fail: The Clarinet Parts in Mozart's K. 581 and K. 622; From Madrigal to
Toccata: Frescobaldi and the Seconda Prattica; Beethoven and Shakespeare;
Tenors Lost and Found: The Reconstruction of Motets in Two Medieval
Chansonniers
of Cristobal Galan's Music; The Speaking Body: Gaspero Angiolini's
Rhetorique Muette and the Ballet d'Action in the Eighteenth Century;
Costanzo Festa's lnviolata, integra et casta es Maria: a Double Homage
Motet; Bach, Theology, and Harmony: A New Look at the Arias; The Symphony
and the Artist's Creed: Camille Saint-Saens and His Third Symphony; The
Letter as Convention in Seventeenth-Century Venetian Opera; Poetic and
Musical Forms in the Laude of Innocenti us Dammonis; Melody and Motive in
Schenker's Earliest Writings; Twins, Cousins, and Heirs: Relationships
among Editions of Music Printed in Sixteenth-Century Venice; Rhetoric,
Rhythm, and Harmony as Keys to Schlitz's Saul, Saul, was verfolgst du mich?
Bach's tempo ordinaria: A Plaine and Easie Introduction to the System;
Amorous Dialogues: Poetic Topos and Polyphonic Texture in Some Polytextual
Songs of the Late Middle Ages; The Violins in Bach's St. John Passion;
French Opera in Transition: Silvie ( 1765) by Trial and Berton; Kindling
the Compositional Fire: Haydn's Keyboard Phantasiren; When Sources Seem to
Fail: The Clarinet Parts in Mozart's K. 581 and K. 622; From Madrigal to
Toccata: Frescobaldi and the Seconda Prattica; Beethoven and Shakespeare;
Tenors Lost and Found: The Reconstruction of Motets in Two Medieval
Chansonniers
Principal Publications of Paul Brainard; Some Considerations of the Sources
of Cristobal Galan's Music; The Speaking Body: Gaspero Angiolini's
Rhetorique Muette and the Ballet d'Action in the Eighteenth Century;
Costanzo Festa's lnviolata, integra et casta es Maria: a Double Homage
Motet; Bach, Theology, and Harmony: A New Look at the Arias; The Symphony
and the Artist's Creed: Camille Saint-Saens and His Third Symphony; The
Letter as Convention in Seventeenth-Century Venetian Opera; Poetic and
Musical Forms in the Laude of Innocenti us Dammonis; Melody and Motive in
Schenker's Earliest Writings; Twins, Cousins, and Heirs: Relationships
among Editions of Music Printed in Sixteenth-Century Venice; Rhetoric,
Rhythm, and Harmony as Keys to Schlitz's Saul, Saul, was verfolgst du mich?
Bach's tempo ordinaria: A Plaine and Easie Introduction to the System;
Amorous Dialogues: Poetic Topos and Polyphonic Texture in Some Polytextual
Songs of the Late Middle Ages; The Violins in Bach's St. John Passion;
French Opera in Transition: Silvie ( 1765) by Trial and Berton; Kindling
the Compositional Fire: Haydn's Keyboard Phantasiren; When Sources Seem to
Fail: The Clarinet Parts in Mozart's K. 581 and K. 622; From Madrigal to
Toccata: Frescobaldi and the Seconda Prattica; Beethoven and Shakespeare;
Tenors Lost and Found: The Reconstruction of Motets in Two Medieval
Chansonniers
of Cristobal Galan's Music; The Speaking Body: Gaspero Angiolini's
Rhetorique Muette and the Ballet d'Action in the Eighteenth Century;
Costanzo Festa's lnviolata, integra et casta es Maria: a Double Homage
Motet; Bach, Theology, and Harmony: A New Look at the Arias; The Symphony
and the Artist's Creed: Camille Saint-Saens and His Third Symphony; The
Letter as Convention in Seventeenth-Century Venetian Opera; Poetic and
Musical Forms in the Laude of Innocenti us Dammonis; Melody and Motive in
Schenker's Earliest Writings; Twins, Cousins, and Heirs: Relationships
among Editions of Music Printed in Sixteenth-Century Venice; Rhetoric,
Rhythm, and Harmony as Keys to Schlitz's Saul, Saul, was verfolgst du mich?
Bach's tempo ordinaria: A Plaine and Easie Introduction to the System;
Amorous Dialogues: Poetic Topos and Polyphonic Texture in Some Polytextual
Songs of the Late Middle Ages; The Violins in Bach's St. John Passion;
French Opera in Transition: Silvie ( 1765) by Trial and Berton; Kindling
the Compositional Fire: Haydn's Keyboard Phantasiren; When Sources Seem to
Fail: The Clarinet Parts in Mozart's K. 581 and K. 622; From Madrigal to
Toccata: Frescobaldi and the Seconda Prattica; Beethoven and Shakespeare;
Tenors Lost and Found: The Reconstruction of Motets in Two Medieval
Chansonniers