Thomas Schmidt-Beste
The Sonata
Thomas Schmidt-Beste
The Sonata
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- Produkterinnerung
An introductory survey of the most enduring and popular genre of instrumental music, perfect for students, teachers and performers.
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An introductory survey of the most enduring and popular genre of instrumental music, perfect for students, teachers and performers.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 278
- Erscheinungstermin: 10. März 2011
- Englisch
- Abmessung: 250mm x 175mm x 20mm
- Gewicht: 666g
- ISBN-13: 9780521762540
- ISBN-10: 0521762545
- Artikelnr.: 34557917
- Verlag: Cambridge University Press
- Seitenzahl: 278
- Erscheinungstermin: 10. März 2011
- Englisch
- Abmessung: 250mm x 175mm x 20mm
- Gewicht: 666g
- ISBN-13: 9780521762540
- ISBN-10: 0521762545
- Artikelnr.: 34557917
Thomas Schmidt-Beste is Professor and Head of Music at Bangor University, North Wales.
Part I. Definitions: 1. Sonata and canzona
2. Sonata and sinfonia
3. Sonata and concerto
4. Sonata and suite/partita
5. The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia
Part II. Form: 6. The 'free' sonata in the seventeenth century
7. Corelli and his legacy
8. Sonata cycles and 'sonata form' after 1750
9. Beethoven's sonatas - consummating or transcending Classical form?
10. The cycle
11. The sonata after Beethoven
12. Sonata composition in the twentieth century
Part III. Functions and Aesthetics: 13. Locations and occasions
14. Target groups: professionals, connoisseurs and amateurs
15. Learned style
16. Virtuosity
17. Sonata form as an aesthetic paradigm
18. Absolute music? On meaning and programmaticism
Part IV. Scoring and Texture: 19. Developments in the seventeenth and eighteenth centuries
20. The paradigm shift of c.1750
21. The age of the piano sonata
22. Piano and others
23. The sonata for unaccompanied solo instrument
24. The organ sonata
Bibliography.
2. Sonata and sinfonia
3. Sonata and concerto
4. Sonata and suite/partita
5. The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia
Part II. Form: 6. The 'free' sonata in the seventeenth century
7. Corelli and his legacy
8. Sonata cycles and 'sonata form' after 1750
9. Beethoven's sonatas - consummating or transcending Classical form?
10. The cycle
11. The sonata after Beethoven
12. Sonata composition in the twentieth century
Part III. Functions and Aesthetics: 13. Locations and occasions
14. Target groups: professionals, connoisseurs and amateurs
15. Learned style
16. Virtuosity
17. Sonata form as an aesthetic paradigm
18. Absolute music? On meaning and programmaticism
Part IV. Scoring and Texture: 19. Developments in the seventeenth and eighteenth centuries
20. The paradigm shift of c.1750
21. The age of the piano sonata
22. Piano and others
23. The sonata for unaccompanied solo instrument
24. The organ sonata
Bibliography.
Part I. Definitions: 1. Sonata and canzona; 2. Sonata and sinfonia; 3. Sonata and concerto; 4. Sonata and suite/partita; 5. The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia; Part II. Form: 6. The 'free' sonata in the seventeenth century; 7. Corelli and his legacy; 8. Sonata cycles and 'sonata form' after 1750; 9. Beethoven's sonatas - consummating or transcending Classical form?; 10. The cycle; 11. The sonata after Beethoven; 12. Sonata composition in the twentieth century; Part III. Functions and Aesthetics: 13. Locations and occasions; 14. Target groups: professionals, connoisseurs and amateurs; 15. Learned style; 16. Virtuosity; 17. Sonata form as an aesthetic paradigm; 18. Absolute music? On meaning and programmaticism; Part IV. Scoring and Texture: 19. Developments in the seventeenth and eighteenth centuries; 20. The paradigm shift of c.1750; 21. The age of the piano sonata; 22. Piano and others; 23. The sonata for unaccompanied solo instrument; 24. The organ sonata; Bibliography.
Part I. Definitions: 1. Sonata and canzona
2. Sonata and sinfonia
3. Sonata and concerto
4. Sonata and suite/partita
5. The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia
Part II. Form: 6. The 'free' sonata in the seventeenth century
7. Corelli and his legacy
8. Sonata cycles and 'sonata form' after 1750
9. Beethoven's sonatas - consummating or transcending Classical form?
10. The cycle
11. The sonata after Beethoven
12. Sonata composition in the twentieth century
Part III. Functions and Aesthetics: 13. Locations and occasions
14. Target groups: professionals, connoisseurs and amateurs
15. Learned style
16. Virtuosity
17. Sonata form as an aesthetic paradigm
18. Absolute music? On meaning and programmaticism
Part IV. Scoring and Texture: 19. Developments in the seventeenth and eighteenth centuries
20. The paradigm shift of c.1750
21. The age of the piano sonata
22. Piano and others
23. The sonata for unaccompanied solo instrument
24. The organ sonata
Bibliography.
2. Sonata and sinfonia
3. Sonata and concerto
4. Sonata and suite/partita
5. The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia
Part II. Form: 6. The 'free' sonata in the seventeenth century
7. Corelli and his legacy
8. Sonata cycles and 'sonata form' after 1750
9. Beethoven's sonatas - consummating or transcending Classical form?
10. The cycle
11. The sonata after Beethoven
12. Sonata composition in the twentieth century
Part III. Functions and Aesthetics: 13. Locations and occasions
14. Target groups: professionals, connoisseurs and amateurs
15. Learned style
16. Virtuosity
17. Sonata form as an aesthetic paradigm
18. Absolute music? On meaning and programmaticism
Part IV. Scoring and Texture: 19. Developments in the seventeenth and eighteenth centuries
20. The paradigm shift of c.1750
21. The age of the piano sonata
22. Piano and others
23. The sonata for unaccompanied solo instrument
24. The organ sonata
Bibliography.
Part I. Definitions: 1. Sonata and canzona; 2. Sonata and sinfonia; 3. Sonata and concerto; 4. Sonata and suite/partita; 5. The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia; Part II. Form: 6. The 'free' sonata in the seventeenth century; 7. Corelli and his legacy; 8. Sonata cycles and 'sonata form' after 1750; 9. Beethoven's sonatas - consummating or transcending Classical form?; 10. The cycle; 11. The sonata after Beethoven; 12. Sonata composition in the twentieth century; Part III. Functions and Aesthetics: 13. Locations and occasions; 14. Target groups: professionals, connoisseurs and amateurs; 15. Learned style; 16. Virtuosity; 17. Sonata form as an aesthetic paradigm; 18. Absolute music? On meaning and programmaticism; Part IV. Scoring and Texture: 19. Developments in the seventeenth and eighteenth centuries; 20. The paradigm shift of c.1750; 21. The age of the piano sonata; 22. Piano and others; 23. The sonata for unaccompanied solo instrument; 24. The organ sonata; Bibliography.