Music in the Seventeenth and Eighteenth Centuries : The Oxford History of Western Music.
Richard. Taruskin
Bok Engelsk 2011 · Electronic books.
| Omfang | 1 online resource (769 pages)
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| Opplysninger | Cover -- Contents -- Chapter 20 Opera from Monteverdi to Monteverdi: Princely and Public Theaters -- Monteverdi's Contributions to Both -- Court and commerce -- From Mantua to Venice -- Poetics and esthesics -- Opera and its politics -- Sex objects, sexed and unsexed -- The quintessential princely spectacle -- The carnival show -- Chapter 21 Fat Times and Lean: Organ Music from Frescobaldi to Scheidt -- Schutz's Career -- Oratorio and Cantata -- Some organists -- The toccata -- Sweelinck-His patrimony and his progeny -- Lutheran adaptations: The chorale partita -- The chorale concerto -- Ruin -- A creative microcosm -- Luxuriance -- Shriveled down to the expressive nub -- Carissimi: Oratorio and cantata -- Women in music: A historians' dilemma -- Chapter 22 Courts Resplendent, Overthrown, Restored: Trag´edie Lyrique from Lully to Rameau -- English Music in the Seventeenth Century -- Sense and sensuousness -- The politics of patronage -- Drama as court ritual -- Atys, the king's opera -- Art and politics: Some caveats -- Jacobean England -- Masque and consort -- Ayres and suites: Harmonically determined form -- Distracted times -- Restoration -- Purcell -- Dido and Aeneas and the question of ''English opera'' -- The making of a classic -- Chapter 23 Class and Classicism: Opera Seria and Its Makers -- Naples -- Scarlatti -- Neoclassicism -- Metastasio -- Metastasio's musicians -- The fortunes of Artaserse -- Opera seria in (and as) practice -- ''Performance practice'' -- Chapter 24 The Italian Concerto Style and the Rise of Tonality-Driven Form: Corelli, Vivaldi, and Their German Imitators -- Standardized genres and tonal practices -- What, exactly, is ''tonality''? -- The spread of ''tonal form'' -- The fugal style -- Handel and ''defamiliarization'' -- Bach and ''dramatized'' tonality -- Vivaldi's five hundred -- ''Concerti madrigaleschi''.. - Chapter 25 Class of 1685 (I): Careers of J. S. Bach and G. F. Handel Compared -- Bach's Instrumental Music -- Contexts and canons -- Careers and lifestyles -- Roots (domestic) -- Roots (imported) -- Bach's suites -- A close-up -- ''Agrémens'' and ''doubles'' -- Stylistic hybrids -- The ''Brandenburg'' Concertos -- ''Obbligato'' writing and/or arranging -- What does it all mean? -- Chapter 26 Class of 1685 (II): Handel's Operas and Oratorios -- Bach's Cantatas and Passions -- Domenico Scarlatti -- Handel on the Strand -- Lofty entertainments -- Messiah -- ''Borrowing'' -- Back to Bach: The cantatas -- The old style -- The new style -- Musical symbolism, musical idealism -- What music is for -- Bach's ''testaments'' -- The Bach revival -- Cursed questions -- Scarlatti, at last -- Chapter 27 The Comic Style: Mid-Eighteenth-Century Stylistic Change Traced to Its Sources in the 1720s -- Empfindsamkeit -- Galanterie -- ''War of the Buffoons'' -- You can't get there from here -- The younger Bachs -- Sensibility -- The London Bach -- Sociability music -- ''Nature'' -- Intermission plays -- The ''War of the Buffoons'' -- Chapter 28 Enlightenment and Reform: The Operas of Piccinni, Gluck, and Mozart -- Novels sung on stage -- Noble simplicity -- Another querelle -- What was Enlightenment? -- Mozart -- Idomeneo -- Die Entf"uhrung aus dem Serail -- The ''Da Ponte'' operas -- Late works -- Don Giovanni close up -- Music as a social mirror -- Music and (or as) morality -- Chapter 29 Instrumental Music Lifts Off: The Eighteenth-Century Symphony -- Haydn -- Party music goes public -- Concert life is born -- An army of generals -- The Bach sons as ''symphonists'' -- Haydn -- The perfect career -- The Esterh´azy years -- Norms and deviations: Creating musical meaning -- Sign systems -- Anatomy of a joke -- The London tours -- Addressing throngs.. - Variation and development -- More surprises -- The culminating work -- Chapter 30 The Composer's Voice: Mozart's Piano Concertos -- His Last Symphonies -- the Fantasia as Style and as Metaphor -- Art for art's sake? -- Psychoanalyzing music -- The ''symphonic'' concerto is born -- Mozart in the marketplace -- Composing and performing -- Performance as self-dramatization -- The tip of the iceberg -- Fantasia as metaphor -- The coming of museum culture -- Chapter 31 The First Romantics: Late Eighteenth-century Music Esthetics -- Beethoven's Career and His Posthumous Legend -- The beautiful and the sublime -- Classic or Romantic? -- Beethoven and ''Beethoven'' -- Kampf und Sieg -- The Eroica -- Crisis and reaction -- The ''Ninth'' -- Inwardness -- Chapter 32 C-Minor Moods: The ''Struggle and Victory'' Narrative and Its Relationship to Four C-Minor Works of Beethoven -- Devotion and derision -- Transgression -- Morti di Eroi -- Germination and growth -- Letting go -- The music century -- Notes -- Art Credits.. - Music in the Seventeenth and Eighteenth Centuries , the second volume Richard Taruskin's monumental history, illuminates the explosion of musical creativity that occurred in the seventeenth and eighteenth centuries. Examining a wealth of topics, Taruskin looks at the elegant masques and consort music of Jacobean England, the Italian concerto style of Corelli and Vivaldi, and the progression from Baroque to Rococo to romantic style. Perhaps most important, he offers a fascinating account of the giants of this period: Bach, Handel, Mozart, Haydn, and Beethoven. Laced with brilliant observations, memorable musical analysis, and a panoramic sense of the interactions between history, culture, politics, art, literature, religion, and music, this book will be essential reading for anyone who wishes to understand this rich and diverse period.
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| ISBN | 9780199771394
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