Music in the Renaissance

ISBN-10: 0393929167
ISBN-13: 9780393929164
Edition: 2013
List price: $61.95 Buy it from $50.49
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Description: Richard Freedman's Music in the Renaissance shows how music and other forms of expression were adapted to changing tastes and ideals in Renaissance courts and churches. Giving due weight to sacred, secular, and instrumental genres, Freedman invites  More...

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Book details

List price: $61.95
Copyright year: 2013
Publisher: W. W. Norton & Company, Incorporated
Publication date: 10/23/2012
Binding: Paperback
Pages: 320
Size: 6.10" wide x 9.21" long x 0.67" tall
Weight: 1.430
Language: English

Richard Freedman's Music in the Renaissance shows how music and other forms of expression were adapted to changing tastes and ideals in Renaissance courts and churches. Giving due weight to sacred, secular, and instrumental genres, Freedman invites readers to consider who made music, who sponsored and listened to it, who preserved and owned it, and what social and aesthetic purposes it served. While focusing on broad themes such as music and the literary imagination and the art of improvisation, he also describes Europeans' musical encounters with other cultures and places. Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

Jean Beaufret (1907--1982) was an important reader and translator of Martin Heidegger's work and played a key role in Heidegger's reception in France. The four volumes of Dialogues avec Heidegger were published between 1974 and 1985.Martin Heidegger (1889--1975), who became famous for his theories of being and human nature, is considered one of the most original and influential philosophers of the 20th century.Mark Sinclair teaches at Manchester Metropolitan University.An American of Austrian birth, Arnold Schoenberg composed initially in a highly developed romantic style but eventually turned to painting and expressionism. At first he was influenced by Richard Wagner and tried to write in a Wagnerian style. He attracted the attention of Alban Berg and Anton von Webern, with whom he created a new compositional method based on using all 12 half-steps in each octave as an organizing principle, the so-called 12-tone technique. His importance to the development of twentieth-century music is incredible, but the music he composed using this new method is not easily accessible to most concertgoers.

Anthology Repertoire
Series Editor's Preface
Author's Preface
Beginnings
Music and the Cultures of the Renaissance
The Craft of Composition: Two Views
Changing Styles and Contexts
Music and the Renaissance: Some Problems
Humanism in Thought, Word, and Belief
Music and the Spirit of Religious Reform
Music and the Cultures of Print
Music and the Renaissance Gentleman
A Dialogue with the Past
For Further Reading
Learning to Be a Musician
A Plain and Easy Introduction
The Duet as Testing Ground
Learning about the Modes
The Lost Art of Unwritten Counterpoint
Teaching Methods
Sixteenth-Century Trends
For Further Reading
Before 1500
Music at Court and a Songbook for Beatrice
The Chapelle, Chambre, and Ecurie
A Wedding at Savoy
Musical Patronage as Aristotle's "Magnificence"
Tinctoris's "New Art"
Music in Motion
A Songbook for a Princess
Performing Chansons at Court
For Further Reading
Piety, Devotion, and Ceremony
Music in Church
Du Fay and a New Marian Service for Cambrai
Polyphony at the Margins of the Liturgy
A Memorial Mass by Obrecht
Dunstable, the Song of Songs, and Musical Devotion
The Sound of Sacred Processions
Music for Corpus Christi Processions
A Ceremonial Carol
Music for Ceremonies of State
Du Fay's Motet for Pope and Emperor
For Further Reading
Structures arid Symbols in Cantus Firmus and Canon
Cantus Firmus and the Ceremonial Motet
The Caput Masses
The L'homme arm� Tradition
Ockeghem's Musical Puzzles
Old Structures, New Listeners
For Further Reading
Around 1500
Number, Medicine, and Magic
Music, Number, Proportion
Theory versus Practice
Music and Medicine
Dowland, Du Fay, and the Sounds of Melancholia
Music and Neoplatonic Magic
Ficino and the Cosmic Dimension
For Further Reading
Music and the Ideal Courtier
Castiglione's Book of the Courtier
Federico da Montefeltro: The Ideal Prince
The Courtier and the Theater of Appearances
Songs Fit for a Courtier
Seranno Aquilano, Singer and Poet
Marchetto Cara and the Frottola
A Frottola in Detail: Tromboncino's Ostinato vo' seguire
Music, the Court Lady, and the Courtesan
Fortunes of the Courtier Aesthetic
For Further Reading
Josquin des Prez and the "Perfect Art"
Perfection in Practice: Josquin's Ave Maria… virgo serena
Renaissance Images of Josquin des Prez
Isaac's Competing Claim
The Josquin "Brand"
Josquin, Petrucci, and Music Printing
By Josquin or Not?
Mille regrets and the Problem of Authorship
Josquin des Prez or Not?
Josquin�s Pupils, Real or Imagined?
Reconsidering Josquin's Genius
For Further Reading
Scribes, Printers, and Owners
Handmade Books
Music in Print
Owners and Collectors: Princes, Priests, and Bankers
Composers, Printers, and Publics: Who Owned Music?
For Further Reading
After 1500
Music and the Literary Imagination
Pierre Attaingnant's Songbooks
Madrigals and the Art of Pleasing Variety
In a Lighter Vein
Madrigal Parodies
Luca Marenzio and the Madrigal of the Late Sixteenth Century
Marenzio and the Avant-Garde Poets
For Further Reading
Music and the Crisis of Belief
Sacred Sounds for a Nation of Divided Faiths
From the Cantiones to Byrd's Gradualia
The Reevaluation of Catholic Music
Palestrina's Missa nigra sum
Lasso and Counter-Reformation Munich
Crossing Confessional Boundaries
Protestant versus Catholic in Music
Congregational Hymns among the Protestants
Luther and the "Wondrous Work of Music"
Vautrollier and the Spiritual Correction of Secular Songs
For Further Reading
The Arts of Improvisation, Embellishment, and Variation
The Singing Ladies of Ferrara
Courtly Improvisers, Courtly Audiences
Marenzio's Overdi selve: A Madrigal for the Concerto delle Donne
Learning the Arts of Embellishment from a Papal Singer
Embellishment for Everyone
Borrowed Melodies, "Italian Tenors," and the Art of Instrumental Variation
Fantasia: Playing from Imagination
Fabrizio Dentice's Solo Lute Fantasias
For Further Reading
Empire, Exploration, and Encounter
Venice and the World
Greeks and Moors
Jews and Music, from Italy to England
The Bassano Family
French and English Protestants Abroad
The Catholic Mission in New Spain
Sacred Music in the Americas
Matteo Ricci's Musical Encounters in China
A Musical Parliament of Nations?
For Further Reading
Tradition and Innovation around 1600
A Madrigal by Claudio Monteverdi
A Motet by Carlo Gesualdo
Claude le Jeune's Dodecacorde: The Modes of Social Harmony
Last Words
For Further Reading
Glossary
Endnotes
Credits
Index

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