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Music in the Renaissance - Gustav Reese

Music in the Renaissance

Hardcover

Published: 17th November 1959
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For this study, the most fitting method has seemed to be one that might, with Browning in mind, be called the Ring and the Book technique. Part I deals at some length with the central musical language of the 15th and 16th centuries, which was developed in France, Italy, and the Low Countries, while Part II deals primarily with the music of other lands. This distinction has nothing to do with the comparative intrinsic merit of the various bodies of music, but only with the separation of local dialects from the central language. Indeed, such local productions as the 16th-century music of Spain and England provide artistic expressions quite in a class with the best music of France, Italy, and the Low Countries. The method of first taking into account only the central language has the advantage of permitting the main technical developments of the centuries under consideration to be described, as it were, in a straight line. Thereafter, the entire period is traversed again for each country dealt with in Part II. As a result, the same musical forms and processes of composition are treated several times, but each discussion is entered from a different approach and with the admixture of something individual-that is, national. The method offers advantages not only to the one whose task it is to sort out a huge amount of varied material, but also to the one who studies it: the student has the main historical outline presented to him more than once, but each time with important changes in the details by which it is filled in.

Prefacep. xiii
Preface to the Revised Editionp. 0
The Development of the Central Musical Language of the Renaissance in France, the Low Countries, and Italyp. 1
Social Background in Burgundy (1363-1477) and in the French Crown Lands (reign of Charles Vi); French Music Between Machaut and Dufay; Italian Music of the Early Quattrocentop. 3
Composers, Mainly of Northern France, in the Period of Dufayp. 34
Music of France and the Low Countries in the Period of Busnois and Ockeghem; an Outpost at Naplesp. 97
The Frottolists and Their Contemporaries in Northern and Central Italyp. 153
Josquin Des Prez and His Contemporaries from France and the Low Countries, in Particular Obrecht, Agricola, Isaac, Compère, Brumel, Pierre De La Rue, and Moutonp. 184
Secular Vocal Music of the Post-Josquin Period: Claudin, Janequin, Gombert, and Their Contemporaries as Writers of Polyphonic Chansons; Verdelot, Festa, Arcadelt, Willaert, Rore, and Their Contemporaries as Writers of Italian Madrigalsp. 288
Sacred Vocal Music of the Post- Josquin Period: Gombert, Clemens Non Papa, Willaert, and Their Contemporariesp. 335
Secular Vocal Music of the Late Renaissance: Arcadelt, Le Jeune, Lassus, Sweelinck, and Their Contemporaries as Writers of Polyphonic Chansons; Palestrina, Monte, Marenzio, Monteverdi, and Their Contemporaries as Writers of Italian Madrigalsp. 380
Sacred Vocal Music of the Late Renaissance: Italian Composers, Including Palestrina at Rome and the Gabrielis at Venice; French and Netherlandish Composers, Including Goudimel in His Relation to the Genevan Psalter and Lassus at Antwerpp. 448
Instrumental Music of the 16th Century: the Italian Production, Including the Lute-Books Printed by Petrucci and Those Written by Francesco Da Milano, Galilei, and Molinaro, the Keyboard Works of the Cavazzonis, Merulo, and Andrea Gabrieli, and the Ensemble Compositions of Giovanni Gabrieli; the French and Netherlandish Production, Including the Lute-Books of Le Roy and Besard and the Keyboard and Ensemble Collections Printed by Attaingnant; Music in the 16th-Century Theaterp. 519
The Diffusion and Development of the Musical Language of the Renaissance in the Hispanic Peninsula, Germany, Eastern Europe, and Englandp. 573
Spain and Portugal: the Musicians of the 15th Century, Including Those of Ferdinand and Isabella; the 16th-Century Polyphonists, Including Morales, Guerrero, and Victoria; the Writers of 16th-Century Instrumental Music, Including the Six Great Vihuelistas and Cabezónp. 575
Germany Pre-Reformation Vocal Polyphony, Including the Lochamer, Glogauer, and Other Miscellaneous Liederbücher, the Franco- Netherlandish Element as Represented by Isaac, and the Music of Heinrich Finck; Monophony-the Meistersinger; Instrumental Music Through the 16th Century, Including the Keyboard Works of Paumann, Schlick, and Hofhaimer and the Lute Pieces of the Newsidlersp. 632
Germany Music of the Reformation, Including the Collections of Walter, Rhaw (1544), and Eccard; 16th-Century Catholic Polyphony from About 1520, Including the Music of Senfl and the Franco-Netherlandish Influence as Represented by Lassus and Monte; Secular Polyphony, Including the Ott and Forster Liederbücher and the Collections of Hasslerp. 673
Music in Hungary, Bohemia, Poland, and the Adriatic Coastal Areas of the Southern Slavsp. 714
England Music from C. 1450 to C. 1535, Including the Carols and the Works of Fayrfax and Taverner; the Composers of Sacred Music with Latin Text from C. 1535 to C. 1635, Including Tallis, Byrd, and Philips; Sacred Music with English Text from C. 1535 to C. 1635, Including the Booke of Common Praier Noted, the Early Psalters, and the Anthems of Tomkins and Gibbonsp. 763
England (c. 1535 to C. 1635): the Madrigals, Including Those of Morley, Weelkes, and Wilbye; the Ayre; Instrumental Music, Including the Lute Works of Dowland, the Keyboard Works of Byrd, Bull, and Farnaby, and the Ensemble Compositions of Tye, Morley, and Gibbons; Music in the Theaterp. 815
Indexp. 947
Table of Contents provided by Publisher. All Rights Reserved.

ISBN: 9780393095302
ISBN-10: 0393095304
Audience: Tertiary; University or College
Format: Hardcover
Language: English
Number Of Pages: 1040
Published: 17th November 1959
Publisher: WW Norton & Co
Country of Publication: US
Dimensions (cm): 24.4 x 16.5  x 4.3
Weight (kg): 1.47
Edition Number: 1
Edition Type: Revised