Claude V. Palisca – författare

Claude V. Palisca has long been acknowledged as a leading authority on Italian music of the late sixteenth and early seventeenth centuries. These nineteen essays, originally published between 1956 and 1989, draw together a body of significant research into Italian music and music theory, and make readily available papers widely scattered and most now out-of-print. They have further been selected because of their relevance to current research, as evidenced by their continued citation in publications and dissertations.The book is in two parts, providing studies on the History of Italian Music Theory and studies in the History of Italian Music. The thread that runs through the book is the interaction between music theory and practice and between the humanist revial of antiquity and modern ideals of expression in the decades around 1600, a time of transition between the Renaissance and Baroque. A prefatory note - sometimes extensive - accompanies each of the older essays, reviewing recent research on the topic, including the author's and reactions and responses to the original article. Footnote references have been brought up to date. The test is complemented by over a hundred music examples and a number of illustrations.

This essential summation of Palisca's life work was nearly finished by his death in 2001, and it was brought to completion by Thomas J. Mathiesen.

This essential summation of Palisca's life work was nearly finished by his death in 2001, and it was brought to completion by Thomas J. Mathiesen.

This essential summation of Palisca''s life work was nearly finished by his death in 2001, and it was brought to completion by Thomas J. Mathiesen.

Joachim Burmeister's early seventeenth-century treatise on the making of music is generally acknowledged to be central to the understanding of Baroque musical practice: it was the first systematically to explore the connection between rhetoric and music that became a cornerstone of Baroque musical thought. But until now neither a reliable modern edition nor a full translation of this seminal work has existed. This much-needed edition by Benito V. Rivera contains a critical transcription of the Latin text and an annotated translation on facing pages.In a lengthy introduction to the book, Rivera reviews Burmeister's two earlier treatises on musical composition, analyzes Musical Poetics as a whole, and places it within its historical context. An appendix to the edition reproduces the passages of music cited by Burmeister, greatly facilitating the interpretation of Burmeister's explanations of the rhetorical figures. The book will be of interest to music historians and theorists as well as to scholars of rhetoric.

First published in Rome in 1555, Nicola Vicentino's treatise was one of the most influential music theory texts of the sixteenth century. This translation by Maria Rika Maniates is the first English-language edition of Vicentino's important work.Unlike most early theorists, Vicentino did not simply summarize the practice of his time. His aim was to change how composers wrote and how musicians thought about music.His best-known contribution is the adaptation of the ancient Greek chromatic and enharmonic genera to modern polyphonic practice. But he also expressed the avant garde's position on the relation between music and the subject matter and feelings of a secular or sacred text. He challenged the view that part-writing had always to conform to the rules of counterpoint, asserting that license was permissible in order to express the feelings of a verbal text. In this he anticipated the manifestos of Vincenzo Galilei and Claudio Monteverdi. Maniates' introduction discusses Vicentino's life and work, the sources of his ideas in earlier theoretical literature, and the contemporary humanists from whom he may have learned..

The definitive survey, combining current scholarship with a vibrant narrative. Carefully informed by feedback from dozens of scholars, it remains the book that students and teachers trust to explain what’s important, where it fits and why it matters. Peter Burkholder weaves a compelling story of people, their choices and the western musical tradition that emerged. From chant to hip-hop, he connects past to present to create a context for tomorrow’s musicians.

The definitive survey, combining current scholarship with a vibrant narrative. Carefully informed by feedback from dozens of scholars, it remains the book that students and teachers trust to explain what’s important, where it fits and why it matters. Peter Burkholder weaves a compelling story of people, their choices and the western musical tradition that emerged. From chant to hip-hop, he connects past to present to create a context for tomorrow’s musicians.

The definitive survey, combining current scholarship with a vibrant narrative. Carefully informed by feedback from dozens of scholars, it remains the book that students and teachers trust to explain what’s important, where it fits, and why it matters. Peter Burkholder weaves a compelling story of people, their choices, and the western musical tradition that emerged. From chant to hip-hop, he connects past to present to create a context for tomorrow’s musicians.

The definitive survey, combining current scholarship with a vibrant narrative. Carefully informed by feedback from dozens of scholars, it remains the book that students and teachers trust to explain what’s important, where it fits and why it matters. Peter Burkholder weaves a compelling story of people, their choices and the western musical tradition that emerged. From chant to hip-hop, he connects past to present to create a context for tomorrow’s musicians.

Performers include:• Early music ensembles, such as Chapelle Royale, Lionheart, Sequentia, and the Tallis Scholars• Singers Dietrich Fischer-Dieskau, Renée Fleming, and Joan Sutherland• Cellist Yo-Yo Ma• Pianists Pierre-Laurent Aimard, Malcolm Bilson, and Artur Rubenstein• The Berlin Philharmonic, the Chicago Symphony Orchestra, and the London Symphony Orchestra• Conductors Pierre Boulez, John Eliot Gardiner, James Levine, and Michael Tilson Thomas• String quartets, such as the Concord String Quartet and the Tokyo String Quartet• Jazz artists Louis Armstrong, Duke Ellington, and Dizzy Gillespie

Performers include:• Early music ensembles, such as Chapelle Royale, Lionheart, Sequentia, and the Tallis Scholars• Singers Dietrich Fischer-Dieskau, Renée Fleming, and Joan Sutherland• Cellist Yo-Yo Ma• Pianists Pierre-Laurent Aimard, Malcolm Bilson, and Artur Rubenstein• The Berlin Philharmonic, the Chicago Symphony Orchestra, and the London Symphony Orchestra• Conductors Pierre Boulez, John Eliot Gardiner, James Levine, and Michael Tilson Thomas• String quartets, such as the Concord String Quartet and the Tokyo String Quartet• Jazz artists Louis Armstrong, Duke Ellington, and Dizzy Gillespie

Performers include:• Early music ensembles, such as Chapelle Royale, Lionheart, Sequentia, and the Tallis Scholars• Singers Dietrich Fischer-Dieskau, Renée Fleming, and Joan Sutherland• Cellist Yo-Yo Ma• Pianists Pierre-Laurent Aimard, Malcolm Bilson, and Artur Rubenstein• The Berlin Philharmonic, the Chicago Symphony Orchestra, and the London Symphony Orchestra• Conductors Pierre Boulez, John Eliot Gardiner, James Levine, and Michael Tilson Thomas• String quartets, such as the Concord String Quartet and the Tokyo String Quartet• Jazz artists Louis Armstrong, Duke Ellington, and Dizzy Gillespie