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August Wilhelm Ambros, Musikaufsätze und -rezensionen 1872–1876, Bd. 1: 1872 und 1873

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ISBN: 9783990123379 Year: Pages: 652 Seiten Language: German
Publisher: Hollitzer Grant: Austrian Science Fund - PUB 413
Added to DOAB on : 2018-01-11 11:01:52
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The present edition of musical essays and reviews by August Wilhelm Ambros (1816–1876) covers the years 1872–1876—a time that Ambros spent as a music reviewer for the Wiener Zeitung in Vienna. The first volume contains, in total, 138 essays from the years 1872 and 1873. It documents not only Ambros’ position within Viennese music criticism of the 1870s, but also an important chapter in European musical history.

August Wilhelm Ambros Musikaufsätze und -rezensionen 1872–1876, Bd. 2: 1874–1876

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ISBN: 9783990124130 Year: Pages: 557 Seiten Language: German
Publisher: Hollitzer Grant: Austrian Science Fund - PUB 494
Added to DOAB on : 2019-05-07 11:21:02

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The present edition of musical essays and reviews by August Wilhelm Ambros (1816–1876) covers the years 1872–1876—a time that Ambros spent as a music reviewer for the Wiener Zeitung in Vienna. The second volume contains, in total, 126 essays from the years 1874–1876. It documents not only Ambros’ position within Viennese music criticism of the 1870s, but also an important chapter in European musical history.

Musikgeschichte ohne Markennamen

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Book Series: Musik und Klangkultur ISBN: 9783837641837 9783839441831 Year: DOI: http://dx.doi.org/10.14361/9783839441831 Language: German
Publisher: transcript Verlag Grant: Knowledge Unlatched - 104828
Subject: Music
Added to DOAB on : 2019-08-27 11:21:12
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Klavier plus Streichquartett. Im vierstelligen Bereich sind Werke bekannt. In mittlerer dreistelliger Zahl als Tonaufnahme zugänglich. Über 200 Jahre kontinuierliche Produktion. Bis heute. Und doch fehlt das Genre weitgehend in den Leitmedien Klassischer Musik. In den meinungsführenden Feuilletons und Musikgeschichtswerken. Und in den Programmen der prestigeträchtigen Rundfunksender und Labels, Konzertsäle, Festivals und Ensembles. Bis auf die Handvoll Werke berühmter Komponisten, von Schumann über Brahms bis Schostakowitsch. Frédéric Döhl präsentiert ein Nachdenken über Musikgeschichtsschreibung in Zeiten der Digital Humanities – und über die Rolle des eigenen ästhetischen Erlebens dabei.

Simone Verovio

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ISBN: 9783205207184 Year: DOI: 10.7767/9783205207184 Language: English
Publisher: Böhlau Grant: Knowledge Unlatched - 103514
Subject: History
Added to DOAB on : 2018-08-23 11:01:02
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Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsichord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the editions associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides ground-breaking insights into historical performance practice.

Musikalische Repertoires in Zentraleuropa (1420-1450)

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ISBN: 9783205795629 Year: Pages: 422 Seiten DOI: 10.26530/OAPEN_512255 Language: English|German
Publisher: Böhlau Grant: Austrian Science Fund - PUB 160
Added to DOAB on : 2014-12-04 09:02:39
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With famous music manuscripts such as the St Emmeram codex or the Trent codices and the rise of a musical elite with singer-composers around Dufay and Binchois, the years around 1430 belong to a crucial period in late-medieval music history. The present volume comprises 13 case studies on polyphonic as well as monophonic repertories with a particular focus on the city of Vienna. For the first time, the ‘simultaneity’ of ‘non-simultaneous’ phenomena is scrutinized for Central Europe and for the cultural exchange with neighbouring territories of the Holy Roman Empire, of England, Bohemia and Northern Italy.Due to its specific urban profile and the geographical position, late-medieval Vienna offers an excellent starting point for the study of musical repertories in Central Europe and their appropriation as cultural practice in the first half of the fifteenth century. The ‘simultaneity’ of ‘non-simultaneous’ phenomena is closely connected to the coexistence of different patterns of music patronage within court and nobility, the university, a variety of ecclesiastical institutions (among them the collegiate church of All Saints, later St Stephen’s Cathedral), and diverse strands of upper- and middle-class citizens on the one hand, cultural exchange with neighbouring territories of the Holy Roman Empire, of England, Bohemia and Northern Italy on the other. Manifold strands of polyphonic and monophonic repertories (both sacred and profane), compositional techniques, regionally bound stylistic peculiarities, strategems of music patronage, institutional (or even personal) collectionism, furthermore aspects of music iconography and the role of music within the history of ideas are scrutinized in thirteen chapters, which are conceived as case-studies, plus a detailed thematical introduction. In sum, this is an invaluable contribution to a better understanding of a crucial period of late-medieval music history.

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