The Burwell Lute Tutor PDF Download
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Author: Elizabeth Burwell
Publisher:
ISBN:
Category : Lute
Languages : en
Pages : 152
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Book Description
Author: Elizabeth Burwell
Publisher:
ISBN:
Category : Lute
Languages : en
Pages : 152
Get Book Here
Book Description
Author:
Publisher:
ISBN:
Category : Lute
Languages : en
Pages : 0
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Book Description
Author: Boethius Press Limited
Publisher:
ISBN: 9780863142345
Category :
Languages : en
Pages : 130
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Book Description
Author: Matthew Spring
Publisher: Oxford University Press, USA
ISBN: 9780195188387
Category : Language Arts & Disciplines
Languages : en
Pages : 576
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Book Description
"Spring focuses on the lute in Britain, but also includes two chapters devoted to continental developments: one on the transition from medieval to renaissance, the other on renaissance to baroque, and the lute in Britain is never treated in isolation. Six chapters cover all aspects of the lute's history and its music in England from 1285 to well into the eighteenth century, whilst other chapters cover the instrument's early history, the lute in consort, lute song accompaniment, the theorbo, and the lute in Scotland."--Jacket.
Author: Victor Coelho
Publisher: Cambridge University Press
ISBN: 9780521019439
Category : Music
Languages : en
Pages : 258
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Book Description
The first book-length study in any language dedicated specifically to lute, guitar, and vihuela.
Author: Jan W.J. Burgers
Publisher: Cambridge Scholars Publishing
ISBN: 1443899178
Category : Music
Languages : en
Pages : 315
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Book Description
The lute played a central role in the rich musical culture of the seventeenth-century ‘Golden Age’ of the Dutch Republic. Like the piano in the nineteenth century, the lute was not just a popular instrument for solo music making, but was also used widely in ensembles and to accompany singers. Though mainly an instrument of the social elite and the aristocracy, it was also played by the numerous and prosperous burgher class. The first part of the book deals with psalm settings for the lute; the way professional lutenists coped with the harsh rules of the free market; Leiden as a veritable international lute centre; and the different types of lutes that can be reconstructed on the basis of the Dutch paintings of the period. The second part of the book is dedicated to Constantijn Huygens (1596–1687), the well-known poet and statesman, and avid player of, and composer for, the lute. The third and final section deals with Dutch sources of lute music, printed as well as those in manuscript. Taken together, this volume provides a broad and many-layered overview of the lute in the seventeenth century. Collectively, the articles will further the reader’s understanding of the lute in its social and cultural context, not only in the Netherlands, but also on the wider European canvas.
Author: Linda Phyllis Austern
Publisher: University of Chicago Press
ISBN: 022670467X
Category : Music
Languages : en
Pages : 393
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Book Description
Both from the Ears and Mind offers a bold new understanding of the intellectual and cultural position of music in Tudor and Stuart England. Linda Phyllis Austern brings to life the kinds of educated writings and debates that surrounded musical performance, and the remarkable ways in which English people understood music to inform other endeavors, from astrology and self-care to divinity and poetics. Music was considered both art and science, and discussions of music and musical terminology provided points of contact between otherwise discrete fields of human learning. This book demonstrates how knowledge of music permitted individuals to both reveal and conceal membership in specific social, intellectual, and ideological communities. Attending to materials that go beyond music’s conventional limits, these chapters probe the role of music in commonplace books, health-maintenance and marriage manuals, rhetorical and theological treatises, and mathematical dictionaries. Ultimately, Austern illustrates how music was an indispensable frame of reference that became central to the fabric of life during a time of tremendous intellectual, social, and technological change.
Author: Linda Phyllis Austern
Publisher: Routledge
ISBN: 1135689857
Category : Music
Languages : en
Pages : 364
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Book Description
Divided into three sections, Linda Phyllis Austern collects eighteen, cross-disciplinary essays written by some of the most important names in the field to look at this stimulating topic. The first section focuses on the cultural and scientific ways in which music and the sense of hearing work directly on the mind and body. Part Two investigates how music works on the socially constructed, representational or sexualized body as a means of healing, beautifying and maintaining a balance between the mental and physical. Finally, the book explores the action of music as it is heard and sensed by wider social units, such as the body politic, mass communication, from print to sound recording, and broadcast technologies.
Author: Catherine A. Henze
Publisher: Taylor & Francis
ISBN: 1317055993
Category : Literary Criticism
Languages : en
Pages : 217
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Book Description
After Robert Armin joined the Chamberlain's Men, singing in Shakespeare's dramas catapulted from 1.25 songs and 9.95 lines of singing per play to 3.44 songs and 29.75 lines of singing, a virtually unnoticed phenomenon. In addition, many of the songs became seemingly improvisatory—similar to Armin's personal style as an author and solo comedian. In order to study Armin's collaborative impact, this interdisciplinary book investigates the songs that have Renaissance music that could have been heard on Shakespeare's stage. They occur in some of Shakespeare's most famous plays, including Much Ado About Nothing, Twelfth Night, Hamlet, and The Tempest. In fact, Shakespeare's plays, as we have them, are not complete. They are missing the music that could have accompanied the plays’ songs. Significantly, Renaissance vocal music, far beyond just providing entertainment, was believed to alter the bodies and souls of both performers and auditors to agree with its characteristics, directly inciting passions from love to melancholy. By collaborating with early modern music editor and performing artist Lawrence Lipnik, Catherine Henze is able to provide new performance editions of seventeen songs, including spoken interruptions and cuts and rearrangement of the music to accommodate the dramatist's words. Next, Henze analyzes the complete songs, words and music, according to Renaissance literary and music primary sources, and applies the new information to interpretations of characters and scenes, frequently challenging commonly held literary assessments. The book is organized according to Armin's involvement with the plays, before, during, and after the comic actor joined Shakespeare's company. It offers readers the tools to interpret not only these songs, but also vocal music in dramas by other Renaissance playwrights. Moreover, Robert Armin and Shakespeare's Performed Songs, written with non-specialized terminology, provides a gateway to new areas of research and interpretation in an increasingly significant interdisciplinary field for all interested in Shakespeare and early modern drama.
Author: Jonathan Wainwright
Publisher: Routledge
ISBN: 1351566261
Category : Music
Languages : en
Pages : 342
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Book Description
Historians of instruments and instrumental music have long recognised that there was a period of profound change in the seventeenth century, when the consorts or families of instruments developed during the Renaissance were replaced by the new models of the Baroque period. Yet the process is still poorly understood, in part because each instrument has traditionally been considered in isolation, and changes in design have rarely been related to changes in the way instruments were used, or what they played. The essays in this book are by distinguished international authors that include specialists in particular instruments together with those interested in such topics as the early history of the orchestra, iconography, pitch and continuo practice. The book will appeal to instrument makers and academics who have an interest in achieving a better understanding of the process of change in the seventeenth century, but the book also raises questions that any historically aware performer ought to be asking about the performance of Baroque music. What sorts of instruments should be used? At what pitch? In which temperament? In what numbers and/or combinations? For this reason, the book will be invaluable to performers, academics, instrument makers and anyone interested in the fascinating period of change from the 'Renaissance' to the 'Baroque'.
