This first full-length study of Telemann's concertos, sonatas, and suites focuses on his imaginative mixing of styles and genres. Special attention is also devoted to the extra musical meanings and humor of his programmatic overture-suites, his unprecedented self-publishing enterprise, and the social resonances of his Polish-style works.
This first full-length study of Telemann's concertos, sonatas, and suites focuses on his imaginative mixing of styles and genres. Special attention is also devoted to the extra musical meanings and humor of his programmatic overture-suites, his unprecedented self-publishing enterprise, and the social resonances of his Polish-style works.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Steven Zohn is Laura H. Carnell Professor of Music Studies at Temple University. The recipient of grants and awards from the National Endowment for the Humanities, the American Philosophical Society, the American Musicological Society, and the German Academic Exchange Service, he has published widely on the music of the German late baroque. He is also a noted performer on historical flutes.
Inhaltsangabe
* List of Abbreviations * List of Music Examples * List of Tables * List of Figures * Prologue: Styles and Sources * Part I: The Overture-Suites * One: Acquiring a Mixed Taste: Telemann as "Great Partisan of French Music" * Two: Telemann's Mimetic Art: The Characteristic Overture-Suites * Part II: The Concertos * Three: Never from the Heart? Telemann's Concertos * Four: Bach's Debt Repaid with Interest: A Cast Study of Transformative Imitation * Part III: The Sonatas * Five: "Something for Everyone's Taste": Telemann's Sonatas to 1725 * Six: Telemann and the Sonata auf Concertenart * Part IV: The Hamburg Publications * Seven: Telemann in the Marketplace: The Composer as Self-Publisher * Eight: Telemann für Kenner und Liebhaber: The Music of the Hamburg Publications * Nine: Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other * Afterword * Glossay * Notes * Bibliography * Index of Telemann's Compositions * General Index
* List of Abbreviations * List of Music Examples * List of Tables * List of Figures * Prologue: Styles and Sources * Part I: The Overture-Suites * One: Acquiring a Mixed Taste: Telemann as "Great Partisan of French Music" * Two: Telemann's Mimetic Art: The Characteristic Overture-Suites * Part II: The Concertos * Three: Never from the Heart? Telemann's Concertos * Four: Bach's Debt Repaid with Interest: A Cast Study of Transformative Imitation * Part III: The Sonatas * Five: "Something for Everyone's Taste": Telemann's Sonatas to 1725 * Six: Telemann and the Sonata auf Concertenart * Part IV: The Hamburg Publications * Seven: Telemann in the Marketplace: The Composer as Self-Publisher * Eight: Telemann für Kenner und Liebhaber: The Music of the Hamburg Publications * Nine: Telemann's Polish Style and the "True Barbaric Beauty" of the Musical Other * Afterword * Glossay * Notes * Bibliography * Index of Telemann's Compositions * General Index
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