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Muziekwetenschappen --- Traktaten --- Theorie --- Muziektheorie --- Harmonie --- Italië --- 16e eeuw --- Zarlino, Gioseffo

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Music theory --- History --- 78.60.1 --- Music --- barokmuziek --- muziektheorie --- traktaten --- uitvoeringspraktijk --- anno 1600-1699 --- Music theory - History - 17th century

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The Treatise on Harpsichord Tuning was the first French document to discuss keyboard performance practice in any detail. Jean Denis was both a harpsichord builder of renown and the organist of a prominent Parisian church, and is thus an authority worthy of careful study. The treatise addresses numerous matters of interest to both scholars and performers, including temperament, ornamentation, fugue, and the use of the organ in liturgical practice. Also included in the treatise are a keyboard prelude designed to reveal errors in tuning, and two delightful anecdotes attesting to the power of music. The forthright character of Denis's writing lends a unique and distinctly enjoyable tone to the work.

78.43.3 --- Harpsichord --- Tuning. --- Cembalo --- Spinet (Harpsichord) --- Virginal --- Keyboard instruments --- Muziekgeschiedenis --- Instrumenten --- Klavier --- Klavecimbel --- Spinet --- Stemmingen --- Traktaten --- Frankrijk --- 17e eeuw

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78.09 --- #BIBC:02.43 ALAMIRE --- 840 --- 78.09 Muziekuitvoeringen. Concerten --- Muziekuitvoeringen. Concerten --- Muziekgeschiedenis: essays (histor. onderwerpen, literaire analyses) --- Music --- facsimile's --- piano's --- traktaten --- zangkunst --- techniek --- anno 1800-1899 --- Germany --- 530 --- 78.43.7 --- Muziekwetenschappelijke essays --- Traktaten --- Pedagogie --- Essays --- Zang --- Klavier --- Duitsland --- 19e eeuw --- Gesang. --- Klavierspiel. --- Musik --- Quelle.

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Ellen Rosand shows how opera, born of courtly entertainment, took root in the special social and economic environment of seventeenth-century Venice and there developed the stylistic and aesthetic characteristics we recognize as opera today. With ninety-one music examples, most of them complete pieces nowhere else in print, and enlivened by twenty-eight illustrations, this landmark study will be essential for all students of opera, amateur and professional, and for students of European cultural history in general. Because opera was new in the seventeenth century, the composers (most notably Monteverdi and Cavalli), librettists, impresarios, singers, and designers were especially aware of dealing with aesthetic issues as they worked. Rosand examines critically for the first time the voluminous literary and musical documentation left by the Venetian makers of opera. She determines how these pioneers viewed their art and explains the mechanics of the proliferation of opera, within only four decades, to stages across Europe. Rosand isolates two features of particular importance to this proliferation: the emergence of conventions--musical, dramatic, practical--that facilitated replication and the acute self-consciousness of the creators who, in their scores, librettos, letters, and other documents, have left us a running commentary on the origins of a genre [Publisher description].

Opera --- Music --- Music, Dance, Drama & Film --- Music History & Criticism, Vocal --- -Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- History and criticism --- History --- Venice (Italy) --- -Opera --- Comic opera --- 78.77.0 --- 78.21.2 Venice --- Opera's --- Muziektheater --- Genres --- Muziekgeschiedenis --- Sociologie --- Libretti --- Traktaten --- Italië --- Venetië --- 17e eeuw