История музыкального стиля - Ричард Л. Крокер

PRZEDMIOTEM OFERTY JEST KOD DOSTĘPOWY DO KSIĄŻKI ELEKTRONICZNEJ (EBOOK)

KSIĄŻKA JEST DOSTĘPNA NA ZEWNĘTRZNEJ PLATFORMIE. KSIĄŻKA NIE JEST W POSTACI PLIKU.

Style the distinctive manner of presentation, construction, and execution in any art is a topic of primary importance in music history. This highly regarded text by noted musicologist Richard Crocker (University of California, Berkeley) takes a much-needed fresh look at the subject and attempts to reshape some basic ideas in the light of modern research. Seeking the reasons for stylistic change within the history of style itself (rather than in the history of men or of ideas), this enlightening account shows how music, growing out of its own past, has shaped its own development. Professor Crocker's exceptionally clear and systematic presentation enables students to easily follow the evolution of Western musical style from Gregorian Chant (ca. 750) to the atonal music of the mid-20th century. The book stresses the continuity of basic musical principles over long periods of history, while it explores in detail moments of high stylistic achievement and the composers who exemplified them. Drawing of the earliest written records, Crocker begins his description and analysis of Western music's changing style with a discussion of Frankish Gregorian Chant, laudes and melismas, and polyphony the leading medium of musical development after 1150. The author traces the progression of new polyphonic forms from the Parisian motet of the 13th and 14th centuries through Italian song forms to the Franco-Flemish style of the 15th and 16th centuries. This sweeping survey then documents the emergence of the Classic Style after 1550, embodied in the music of such composers as Palestrina and Byrd, moves through new Italian dramatic styles (1600–1650) and on to the harmonic and polyphonic contributions of the 17th- and 18th-century masters. With perception and insight, Crocker traces the creation of the German symphonic style, epitomized in the works of Mozart, Beethoven, and Brahms, and deals with the parallel development of operatic style. An illuminating examination of new styles after 1900, including the serial music of Schoenberg, Webern, and Berg, concludes this exhaustive study. Over 140 music examples complement Crocker's lucid text, and lists of Selected Study Materials for each chapter are given at the back of the book. This work will be welcomed by music students at all levels, music scholars, and the interested layman as well.

• Autorzy: Richard L. Crocker
• Wydawnictwo: Dover Publications
• Data wydania: 2014
• Wydanie:
• Liczba stron:
• Forma publikacji: ePub (online)
• Język publikacji: angielski
• ISBN: 9780486173245

• Cover
• Title Page
• Copyright Page
• Preface
• Acknowledgments
• Contents
• Part I Chant 700–1150
• 1 Before the Beginning: Gregorian Chant
• The Franks and Gregorian chant
• Roman liturgy
• Recitation formulas
• Office psalmody
• Propers of the mass
• Chant theory
• 2 New Frankish Forms 700–1000
• Laudes and melismas
• Tropes
• Acclamations of the mass
• Texted melismas
• Prose and sequence
• Kyrie eleison
• Hymn
• 3 Versus and Related Forms 1000–1150
• Rhyming Chant
• Rhyme and scansion
• Versus
• Effects on other forms
• Troubadours
• Trouveres
• Theory and Polyphony
• Chant theory
• Early polyphony
• Polyphonic versus
• Other polyphonic forms
• Part II Part Music on a Discant Basis 1150–1600
• 4 Parisian Leadership in Part Music 1150–1300
• Polyphony for the mass
• Leonin’s Organum
• Leonin’s discant
• Polyphonic conductus
• Perotin and discant
• Parisian motet
• Other motet styles
• English polyphony
• 5 Expansion of Part Music 1300–1450
• Stabilization in Motet and Song Form
• Philippe de Vitry’s motets
• Between motet and song form
• Liturgical polyphony
• Guillaume de Machaut
• Guillaume’s song forms
• Italian song forms
• After Guillaume de Machaut
• French and English Developments
• Dunstable and la contenance angloise
• Dufay and his contemporaries
• Cyclic mass
• Binchois and others
• 6 Franco-Flemish Mass and Motet 1450–1500
• Harmony and the new style
• Dufay and Ockeghem
• Ockeghem’s mature works
• Obrecht’s masses
• Josquin Des Pres
• Tuning and temperament
• Petrucci and music printing
• 7 Diffusion of Franco-Flemish Style 1500–1600
• After Josquin: Varied Applications
• Mouton and the lyric style
• Frottola, chanson, madrigal
• Publications for lute and keyboard
• Gombert and Clement
• Willaert and Cipriano de Rore
• Liturgical polyphony
• Instrumental music and pageants
• After 1550: The Classic Style
• De Monte
• Palestrina
• Kerle
• Lasso
• Byrd
• Victoria
• Italian madrigal and concerto toward 1600
• France and England at the end of the century
• Part III Part Music on a Triadic Basis 1600–1750
• 8 New Italian Dramatic Styles 1600–1650
• Italy
• The new triadic foundation
• Early music-drama and monody
• Monteverdi
• Keyboard music and Frescobaldi
• Other instrumental music
• North of the Alps
• Schütz and Schein: sacred concerto and historia
• Other German music
• 9 Trends Toward Clarity 1640–1690
• Italy
• Monteverdi’s Poppea
• Cavalli and opera in Venice
• Cantata
• Sacred music and Carissimi
• Instrumental music : the trio sonata
• Cesti’s operatic style
• North of the Alps
• French music for lute and keyboard
• French opera: Lully
• Charpentier’s sacred music
• Froberger
• Buxtehude and others
• Pachelbel and Biber
• 10 International Style and National Tastes 1680–1750
• Italy
• Aria styles toward 1700
• Corelli and Torelli
• Scarlatti and opera around 1700
• Vivaldi
• North of the Alps
• Purcell and English music
• German keyboard publications
• Sacred concerto and cantata
• Hamburg opera and Händel
• François Couperin
• German sacred music: Bach at Weimar
• Handel’s Brookes’ Passion
• Bach’s instrumental works at Cöthen
• Bach at Leipzig
• Handel’s London opera and oratorio
• Bach’s last years
• Italy and the European Scene
• Italian opera after Scarlatti
• Metastasian opera
• Vinci and Conti
• Pergolesi
• Hasse and others
• International opera in 1735
• Rameau as theorist and composer
• Part IV Extension of Triadic Forms 1750–1900
• 11 German Symphony and International Opera 1750–1780
• Refinement in triadic structure
• The new German symphony
• Mannheim, 1750
• Philipp Emanuel Bach
• Eckard and Schobert
• Johann Christian Bach
• Haydn, 1760–1780
• Musical theater after 1750
• Gluck
• 12 Haydn and Mozart 1770–1800
• Mozart’s early years
• Mozart in Vienna
• Haydn and Mozart : string quartets
• From Figaro to Don Giovanni
• Haydn and Mozart: symphonies
• Mozart’s last works
• Haydn’s last works
• 13 Expansion of the Symphony 1800–1830
• Opera and Cherubini
• Beethoven
• Beethoven’s last works
• After Beethoven
• Schubert
• 14 Symphonic Derivatives and Other Music 1830–1850
• International opera toward 1830
• Berlioz and the program symphony
• Mendelssohn
• Schumann
• Chopin Liszt’s symphonic poems
• 15 Between Brahms and Wagner: Debussy 1850–1900456
• Wagner’s music-drama
• After Wagner : Mussorgsky
• Bruckner, Brahms, and the symphony
• Verdi
• Strauss and Mahler
• French music and Debussy
• Part V Beyond the Triad 1900–1964
• 16 New Music After 1900
• The international scene
• music around 1910
• Parisians and Others; Bartók
• Parisian music-hall style
• Bartók
• Vienna: Schoenberg and Webern
• Schoenberg’s early works
• Webern’s early works
• Schoenberg’s new method
• Webern’s later works
• Berg
• Toward a Common Practice
• Symphony in the thirties
• Into the twelve-tone field
• Order and chance
• A classic style ?
• Selected Study Materials
• Introductory Note
• Abbreviations
• Sources of Musical Examples
• Selected Study Materials
• Selected Readings
• Index

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