Download The Cambridge History of Seventeenth-Century Music (The by Tim Carter, John Butt PDF
By Tim Carter, John Butt
Participants discover new facets of composition and function during this finished exam of the repertory, associations, performers, composers, and social and cultural international of 1 of the best moments in track background. they give thought to the cosmopolitan nature of track making; emergence of markets for musical task; and improvement of recent musical kinds and gestures. The paintings additionally features a separate chronology and dictionary-style entries on members, locations and associations. <img src="http://cambridge.org/us/promotion/promo_buttons/CHO_button.jpg"; width="180" height="90" border="2" alt="Cambridge Histories Online" />
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From the Preface :
This ebook illustrates a set of tune manuscripts which was once made lately to learn the root for modern functionality Arts. the gathering was firm by means of conditions instead of any means of choice. hence it indicates the numerous instructions within which song notation is now going. The manuscripts should not prepared in accordance with sorts of tune, yet alphabetically in keeping with the composer's identify. No explanatory info is given.
The textual content for the booklet is the results of a strategy utilising I-Ching probability operations. those made up our minds what percentage phrases relating to his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were particularly written for this ebook, they're preceded by way of a paragraph signal and by way of the author's identify. different comments have been selected or written by way of the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all made up our minds unintentionally operations. This approach was once which will reduce the variation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to jot down approximately notation or some· factor suitable to it. ) A precedent for the absence of data which characterizes this ebook is the modern aquarium (no longer a gloomy hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass apartment with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this ebook. The editors are thankful to the numerous composers and track publishers who've made this presentation of mid-twentieth century track notation attainable.
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Extra resources for The Cambridge History of Seventeenth-Century Music (The Cambridge History of Music)
Sample text
But since poetry was the first to be 7 In a letter, with Castiglione, to Pope Leo X, 1519, in Shearman, Mannerism, p. 17 8 Zarlino, Le istitutioni harmoniche (Venice, 1558), p. 2. 9 Coclico, Musical Compendium, trans. A. Seay, ‘Colorado College Music Press Translations’, 5 (Colorado Springs, 1973), pp. 8–9. 10 tim carter born, music reveres and honours her as his lady, to such an extent that music, having become virtually a shadow of poetry, does not dare to move its foot where its superior has not preceded.
And any threat to so ordered a scheme had ramifications far beyond the mathematical note-crunching often typical of musica speculativa. When Vincenzo Galilei dismissed the relevance of the senario to any practical musical endeavour – given the impurity of the intervals used in contemporary systems of tuning and temperament – Zarlino and his supporters did have one defence: man is de facto imperfect and so cannot rise to so ideal a vision of divine perfection.
12 Danckerts, Sopra una differentia musicale (MS, c. 1551), in Palisca, ‘Towards an Intrinsically Musical Definition of Mannerism in the Sixteenth Century’, in Palisca, Studies in the History of Italian Music and Music Theory, pp. 315–16. 13 Marino’s insistence on cultivating the ‘marvellous’ (meraviglia) as the reader wonders at the poet’s art certainly fits in with one strand of courtly Mannerism, and the rarefied intellectualism and attenuated eroticism of his verse represent others. By the early twentieth century, if not before, critics such as Benedetto Croce and Francesco De Sanctis had also identified Marinism and all it stood for as but an extreme example of so-called Seicentismo, where literature lost its Renaissance purity and natural force, and declined into artistic sterility.