The Sonata in the Baroque Era, by William S. Newman
Author | : William S. Newman |
Publisher | : |
Total Pages | : 447 |
Release | : 1959 |
Genre | : |
ISBN | : |
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Author | : William S. Newman |
Publisher | : |
Total Pages | : 447 |
Release | : 1959 |
Genre | : |
ISBN | : |
Author | : William S. Newman |
Publisher | : Chapel Hill, U. of North Carolina P |
Total Pages | : 476 |
Release | : 1959 |
Genre | : Composers |
ISBN | : |
Author | : William S. Newman |
Publisher | : UNC Press Books |
Total Pages | : 482 |
Release | : 2018-01-01 |
Genre | : Music |
ISBN | : 1469643723 |
This volume provides a full and careful history of what sonata meant and how the word was used from its first appearance as an instrumental title in the sixteenth century to the near end of the thorough-bass practice around 1750. The revised edition includes nearly three hundred new studies, editions, and other pertinent information. Originally published in 1966. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Author | : William S. Newman |
Publisher | : UNC Press Books |
Total Pages | : 924 |
Release | : 2018-01-01 |
Genre | : Music |
ISBN | : 1469643731 |
This definitive volume, the second, largest, and most central in Newman's History of the Sonata Idea, covers the period from the first sample Italian sonatas using the new techniques of the Alberti bass about 1735 to the succession of masterpieces by Haydn, Mozart, and Beethoven which extended until about 1820. It is one of the few books to deal exclusively with the classical era in music. Originally published in 1963. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.
Author | : William S. Newman |
Publisher | : |
Total Pages | : 897 |
Release | : 1963 |
Genre | : Classicism in music |
ISBN | : |
Author | : William Stein Newman |
Publisher | : |
Total Pages | : |
Release | : 1972 |
Genre | : |
ISBN | : |
Author | : William S. Newman |
Publisher | : |
Total Pages | : 899 |
Release | : 1963 |
Genre | : |
ISBN | : |
Author | : William S. Newman |
Publisher | : W W Norton & Company Incorporated |
Total Pages | : 933 |
Release | : 1983 |
Genre | : Music |
ISBN | : 9780393952865 |
Detailed study of the sonata in the classical era
Author | : William S. Newman |
Publisher | : |
Total Pages | : 854 |
Release | : |
Genre | : |
ISBN | : |
Author | : Mara Parker |
Publisher | : Routledge |
Total Pages | : 330 |
Release | : 2017-07-05 |
Genre | : Music |
ISBN | : 1351540289 |
The second half of the eighteenth century witnessed a flourishing of the string quartet, often represented as a smooth and logical progression from first violin-dominated homophony to a more equal conversation between the four voices. Yet this progression was neither as smooth nor as linear as previously thought, as Mara Parker illustrates in her examination of the string quartet during this period. Looking at a wide variety of string quartets by composers such as Pleyel, Distler and Filtz, in addition to Haydn and Mozart, the book proposes a new way of describing the relationships between the four instruments in different works. Broadly speaking, these relationships follow one of four patterns: the 'lecture', the 'polite conversation', the 'debate', and the 'conversation'. In focusing on these musical discourses, it becomes apparent that each work is the product of its composer's stylistic choices, location, intended performers and intended audience. Instead of evolving in a strict and universal sequence, the string quartet in the latter half of the eighteenth century was a complex genre with composers mixing and matching musical discourses as circumstances and their own creative impulses required.