"Revolutionizing our understanding of the musical century spanning Du Fay to Josquin, this book offers both a ground-breaking interpretative framework and a new theory of musical form, enabling scholars, students, and performers to hear, perform, and think about Renaissance music in fresh ways"--
"Revolutionizing our understanding of the musical century spanning Du Fay to Josquin, this book offers both a ground-breaking interpretative framework and a new theory of musical form, enabling scholars, students, and performers to hear, perform, and think about Renaissance music in fresh ways"--Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Jesse Rodin is Professor of Music at Stanford University and a Guggenheim Fellow. His publications include several books and many articles on Renaissance music, as well as recordings with his vocal ensemble Cut Circle. He directs the Josquin Research Project, a tool for exploring a large musical corpus, and co-directs the digital project Mapping the Musical Renaissance.
Inhaltsangabe
Introduction Part I. Starting Points: 1. An esthetics of opposition that privileges intensification, deintensification, and dramatic arcs-and what came before and after 2. A discursive vacuum Part II. Tinctoris's Varietas: 3. Defining terms 4. Varietas as an esthetic paradigm 5. Tinctoris knew the repertoire 6. Pieces exemplifying varietas Part III. Fundaments of the Art: 7. The parameters 8. Affordances of four- and five-voice texture 9. Sacred genres 10. The formes fixes Part IV. The Art in Action: 11. Some songs by Du Fay 12. Peaks, valleys, and flow in Ockeghem's sacred music 13. Busnoys, Josquin, and the Hurricane Osanna 14. Seven awesome endings 15. Pater Noster across the esthetic divide 16. The art of counterpoint in performance Appendices: 1. Tinctoris's rules of counterpoint 2. Rough guide to the late fifteenth-century cyclic mass Bibliography Index of Compositions General Index.
Introduction Part I. Starting Points: 1. An esthetics of opposition that privileges intensification, deintensification, and dramatic arcs-and what came before and after 2. A discursive vacuum Part II. Tinctoris's Varietas: 3. Defining terms 4. Varietas as an esthetic paradigm 5. Tinctoris knew the repertoire 6. Pieces exemplifying varietas Part III. Fundaments of the Art: 7. The parameters 8. Affordances of four- and five-voice texture 9. Sacred genres 10. The formes fixes Part IV. The Art in Action: 11. Some songs by Du Fay 12. Peaks, valleys, and flow in Ockeghem's sacred music 13. Busnoys, Josquin, and the Hurricane Osanna 14. Seven awesome endings 15. Pater Noster across the esthetic divide 16. The art of counterpoint in performance Appendices: 1. Tinctoris's rules of counterpoint 2. Rough guide to the late fifteenth-century cyclic mass Bibliography Index of Compositions General Index.
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