Eighteenth Century Keyboard Music

Download or read book Eighteenth-Century Keyboard Music written by Robert Marshall and published by Routledge. This book was released on 2004-03-01 with total page 460 pages. Available in PDF, EPUB and Kindle. Book excerpt: First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Download or read book Eighteenth-Century Keyboard Music written by Robert Marshall and published by Routledge. This book was released on 2004-03-01 with total page 431 pages. Available in PDF, EPUB and Kindle. Book excerpt: First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Download or read book Keyboard Instruments in Eighteenth-century Vienna written by C. R. F. Maunder and published by Oxford University Press. This book was released on 1998 with total page 298 pages. Available in PDF, EPUB and Kindle. Book excerpt: Although eighteenth-century Viennese keyboard music, especially by such composers as Haydn, Mozart, and Beethoven, is among the most popular ever written, there has been surprisingly little serious research into the instruments for which it was composed. This book fills that gap. Based on evidence from primary source material, much of it previously undiscovered or neglected, Maunder traces the history and development of the various keyboard instruments available in Vienna throughout the eighteenth century--harpsichords, clavichords, and pianos--and their use by composers and performers.

Download or read book English Keyboard Music Before the Nineteenth Century written by John Caldwell and published by Courier Corporation. This book was released on 1985-01-01 with total page 376 pages. Available in PDF, EPUB and Kindle. Book excerpt: English keyboard art from Robertsbridge Codex (c. 1325) to John Field. Illuminating coverage of organ, harpsichord, pianoforte, other instruments; works of Tallis, Byrd, Gibbons, Tomkins, many others. Bibliography.

Download or read book The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style written by W. Dean Sutcliffe and published by Cambridge University Press. This book was released on 2008-08-28 with total page 414 pages. Available in PDF, EPUB and Kindle. Book excerpt: W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.

Download or read book The Keyboard in Baroque Europe written by Christopher Hogwood and published by Cambridge University Press. This book was released on 2003-06-12 with total page 274 pages. Available in PDF, EPUB and Kindle. Book excerpt: Table of contents

Download or read book The Cambridge History of Eighteenth-Century Music written by Simon P. Keefe and published by Cambridge University Press. This book was released on 2009-09-10 with total page 816 pages. Available in PDF, EPUB and Kindle. Book excerpt: The eighteenth century arguably boasts a more remarkable group of significant musical figures, and a more engaging combination of genres, styles and aesthetic orientations than any century before or since, yet huge swathes of its musical activity remain under-appreciated. This History provides a comprehensive survey of eighteenth-century music, examining little-known repertories, works and musical trends alongside more familiar ones. Rather than relying on temporal, periodic and composer-related phenomena to structure the volume, it is organized by genre; chapters are grouped according to the traditional distinctions of music for the church, music for the theatre and music for the concert room that conditioned so much thinking, activity and output in the eighteenth century. A valuable summation of current research in this area, the volume also encourages the readers to think of eighteenth-century music less in terms of overtly teleological developments than of interacting and mutually stimulating musical cultures and practices.