Oxford Music Online Sample Clauses

Oxford Music Online. Oxford University Press, accessed December 15, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. 2 For the purpose of this study, the word ‘recorder’ has been used whenever the present author referred to the instrument, but previous mentions of the instrument as ‘flauto’ and ‘flute’ were kept as in the original, either in italics or between quotation marks. When used by the present author, ‘flutes’ and ‘flutists’ are generalist terms which include both recorder and xxxxxxxx. See the Glossary for the definition of ‘Baroque’, ‘Renaissance’ and ‘early Baroque’ recorders.
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Oxford Music Online. Oxford University Press, accessed December 15, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. Xxxxx Xxxxxxx, "Xxxxxx," in Die Musik in Geschichte und Gegenwart, ed. Xxxxxx Xxxxxxxx (Kassel: Bärenreiter-Verlag, 1994). p. 1250. Xxxxxxx Xxxxxxxx, Il Seicento, 2nd ed., vol. 5, Storia della musica, Biblioteca di Cultura Musicale (Turin: EDT, 1991). p. xv. For a review of Clercx, by Xxxxxxxx, see Xxxxxxx X. Xxxxxxxx, "Le Baroque et la Musique by Xxxxxxx Xxxxxx," The Musical Quarterly 35, no. No. 4 (Oct.) (1949). pp. 652–655. Xxxxxx Xxxxxx, Xxxxx Xxxx Xxxxx, "Galant."
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Oxford Music Online. Oxford University Press, accessed December 8, 2012, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. 16 As reported by Xxxxxx Xxxxx Xxxxx, “the earliest depiction [of a recorder] may be the anonymous Sienese Assumption of the Virgin […] dated 1340”. Now kept in the Alte Pinakothek in Munich, the painting is believed to be by Xxxxxx Xxxxxxx. Xxxxxx Xxxxx Xxxxx, "The recorder in the Middle Ages and the Renaissance," in The Cambridge Companion to the represented regularly in Italian artworks.17 Although depictions of recorder trios are often to be found in the fifteenth century (such as the wonderful frescoes of Palazzo Schifanoia in Ferrara from c. 147018), no ‘designated repertoire’ for the recorder has survived, though consorts of recorders were used to perform vocal music.19 In 1505, the Venetian wind player Xxxxxxxx Xxxxxx offered Xxxxxxxxx XX Xxxxxxx, Xxxxxxx of Mantua, a motet to be played on eight recorders.20 In 1515, Xxxxxxxxx Xxxxxxxxxx, Xxxxxx Xxxxxxx, Xxxxxxx Xxxxxxxx and Xxxxxxxx xx Xxx Xxxxxxxx played recorders as well as cornettos, trumpets and shawms for processions of the Scuola di San Marco in Venice.21 Xxxx Xxxxx XXXX of England “imported a consort of recorder players, five brothers of the Bassano family from Venice, in 1539–40.”22 It was also in the 1530s that the most elaborate Italian treatise for the recorder appeared (i.e. La Fontegara, which will be discussed next), and by then the presence of the recorder in the professional musical life of Italy is undeniable.23 The level of intellectual ability expected from sixteenth century ‘recorder players’ is noteworthy, as may be observed in the sophisticated 1535 Venetian treatise, La Fontegara. Written by a professional musician – Xxxxxxxxx Xxxxxxx was a member of the official wind
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Oxford Music Online. Oxford University Press, accessed October 8, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. For a more detailed account, see also Xxxxxxx Xxxxxxxx, Il Seicento, 5. Xxxxx Xxxxxx,
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Oxford Music Online. Oxford: Oxford University Press, 2013. xxx.xxxxxxxxxxxxxxxxx.xxx/xxxxxxxxxx/xxxxxxx/xxxxx/xxxxx/00000. Xxxxxxxxxx, Xxx. "Xxx Xxxxxxxxxx About Xxxxx Xxxx" Interview by Xxxxx xxx Xxx. 2006. Xxxxxxxxx, Xxxxxx. "Klangerzeugung als Drama und Resonanzphänomen". In Klang (ohne) Körper: Spuren und Potenziale des Körpers in der elektronischen Musik, edited by Xxxxxxx Xxxxxxxxx and Xxxxxx Xxxxxxxxx, 173–182. Bielefeld: transcript Verlag, 2010. Xxxxxxxxxx, Xxxxxxx X. "The Development of Radio". Annals of the American Academy of Political and Social Science 142 (1929): 1–7. Xxxxx, Xxxxx. Von Mozart Zu Xxxxxxx: Eine Kulturgeschichte der Popmusik. Frankfurt am Main: Suhrkamp, 2001.
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Oxford Music Online. Oxford University Press, accessed January 11, 2015, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. (Italics in the original, square brackets by the present author). It is important to point out that both Tutto il Bisognevole and Compendio Musicale continue Xxxxxxx’s legacy, in presenting fingerings for rather high notes in those early times. These are the only two Italian treatises on the ‘Baroque’ recorder, and therefore to claim here that Italian recorder makers had been invested in proposing fingerings for high notes from early on is inconclusive, although relevant. The meager number of treatises in the seventeenth century in Italy, and the fact that no other treatise deals with the recorder in the eighteenth century, contrasts sharply with the enormous number of similar manuals available – and aimed mostly at amateurs – in other parts of Europe, especially England, as can be noted from Table A. The fact that most of these treatises were indeed aimed at a wide reach of amateurs might possibly explain why the fingering charts of so many of those do not include the higher notes – and neither does the repertoire intended for them. The range of the fingerings presented in Baroque treatises for the recorder is also shown in Table A.76 76 For the sake of completion, and in order to show that the range mostly remains the same after the Baroque period (with only a few exceptions), Table A also includes treatises dated later than 1759. Xxxx Xxxxxxxxx, Xxxxxxxxxx Xxxxxxxxx, eds., Xxxxxxxx & Traités 8 – Flûte à Bec, 4 vols., vol. 1-4, Série III – Europe (Courlay: X. X. Xxxxxx, 2001–2006). Table A: Seventeenth and eighteenth century recorder methods with evidence of range City, year Format Author Title Fingering range Remarks Venice?,1630 MS Anonymous Tutto il Bisognevole F4-G6 (no F#6) Ferrara?, 1677– 1694 XX Xxxxxxxxxx Xxxxxxxxxx Compendio Musicale G4-G6 (no G#4, F#6) G alto London, 1679 print Xxxx Xxxxxxxx A Xxxx Xxxxx F4-D6 London, 1683 print Xxxxxxxx Xxxxxx The Genteel Companion F4-D6 (+E6-G6) London, 1686 print Xxxx Xxxx The Delightful Companion F4-D6 late 1680s, revised c.1701 XX Xxxxxxx Xxxxxx Méthode pour apprendre à jouer de la flûte douce F4-G6 (no F#6) London, 1695 print Anonymous The Compleat Flute Master F4-E6 Franeker, 1699 print X. Xxxxxx Xxxxxxx Ondersoek van xx Xxxxxx der Musijk C4-D6 (no C#4, D#4) soprano Paris, 1700 print J.-P. Xxxxxxxx-Xxxxxxx La véritable manière F4-G6 (no F#6) London, 1706 print Anonymous The fifth book of the New Flute Master F4-F6 Amste...
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Oxford Music Online. Oxford University Press, accessed December 28, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. xxxxx xx’ determinerà appresso l’elettione d’altro Istrum[en]to a’ corda.”665 As mentioned in Chapter 3, a harp was present in the Royal Chapel until at least 1704, but no longer mentioned in 1708.666 The harp is not mentioned at all in any of the works that include recorder parts. The first unequivocal mention of the cello in Naples is made in that same 1708 payment list of the Royal Chapel, which also lists double basses.667 As Xxxxx Xxxxxxxx writes668 [I]t is unlikely that this instrument appeared so late and so abruptly in Naples. The characteristic elusiveness of terminology for string bass instruments around this time makes it extremely difficult to identify with certainty the instruments used and to determine exactly when the violoncello took the place of the violone or of other transitional instruments. Although thorough research on the continuo instruments used in Naples has yet to be done, it is reasonable to presume that the developments in the Neapolitan milieu were not very dissimilar from those that occurred in Rome, where the term “xxxxx” was still commonly employed before the first quarter of the eighteenth century to describe the string instruments of the continuo group (including the 8’ violone), and a widespread use of the term “violoncello” began only around the 1720’s. This hypothesis seems to be confirmed by the existence of a set of 28 duets for 2 cellos written in 1699 by Xxxxx Xxxxx (ca. 1650-1718), a teacher of string instruments at the Conservatorio dei Poveri di Xxxx Xxxxxx, which bears as a title “Sonate a due viole.” Certainly by 1708 a fine cello school already existed in Naples. It is otherwise difficult to explain the sudden advent of several exceptional virtuosi such as Xxxxxxxxx Xxxxxxx, Xxxxx Xxxxx, or Xxxxxxxxx Xxxxxxxx coming from the Neapolitan training.669 665 Translation by the present author: “the Harp does not combine well with the other instruments, more precisely because of the ripieno that is customary now. [...] in exchange, another [harmonic] string instrument will be elected.” Xxxxx Xxxxxxxx, Xxxxxxxxxxxxx Xxxxxx, Gli Splendori Armonici del Tesoro: Appunti sull'attività musicale xxxxx Xxxxxxxx tra Sei e Settecento (Naples: Deputazione della Real Cappella del Tesoro di San Gennaro, Arte Tipografica S.A.S., 2002). p. 43. Squared brackets by Columbro and Maione. 666 Xxxxxxxxx Xxxxxxxxxx, Xxxxxxxxxxxxx Xxxxxx, Le Istituzioni M...
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Oxford Music Online. Oxford University Press, accessed December 29, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. 657 Xxxxxx Xxxxx, Meter in Music, 1600–1800 – Performance, Perception and Notation, ed. Xxxxxx Xxxxxxx, Music: Scholarship and Performance (Bloomington & Indianapolis: Indiana University Press, 1987). p. 23. Xxxxxxxx Xxxxx Xxxxxxxxx, Xxxxxx xxxxxxxx xxx breuemente dimostra il modo di giungere xxxx xxxxxxxx cognizione di tutte quelle cose, che concorrono all acomposizione de i Canti, di ciò ch'all'Arte del Contrapunto si recerca (Bologna: Xxxxxxx Xxxxx, 1673). This first print is available online from xxxx://xxxxxxxx.xxxxx.xxxx/files/imglnks/usimg/9/9d/IMSLP126026‐PMLP248460‐ musico_prattico_1673.pdf. 658 Xxxxxx Xxxxx, Meter in Music, 1600–1800 – Performance, Perception and Notation. p. 24. Xxxxxxx Xxxxx, Xx primi albori musicali per li principianti della musica figurata, 4th ed. (Bologna: Xxxxxxx Xxxxx, 1684). 659 Xxx Xxxxxxx, private communication. [sic] anzudeuten/ so ist das Signum quantitatis mensuralis uberflüssig/ unnöthig/ und also/ vermöge … abzuschaffen.660 As Xxxxxx Xxxxx writes, “[e]ven in 1714, the fractional number of the time signature is explained as a proportion, but the omission of the mensural sign is explained as if it did not affect the proportional interpretation of the signature.”661 I believe this to be the case in the works examined in this study that include mensural signs.
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Oxford Music Online. Press dellâUniversità di Oxford URL consultato lâ8 giugno 2007. (abbonamento richiesto) ^ Xxxxxxx, X. (1969, p.19) Xxxxxxxx Chamber Music. Londra, BBC ^ Xxxxxxx, X. (2018, p.131) La musica come arte. Londra, Bloomsbury Continuum ^ Xxxxxxx, R. (2018, p.133) La musica come arte. Londra, Bloomsbury Continuum ^ Xxx Xxxxxxxxxxxx, C. (1976, p.56) La forgiatura dell'»Xxxxxx.» Press dellâUniversità di Cambridge. ^ Xxxxxxxxx, X. (1963, p.278) Xxxxxx xx Xxxxxx ed i relativi simboli. Londra, Faber. ^ Xxxxxxx, Xxxxxx (2012). Revisiting Music Theory: A Guide to the Practice ^ Xxxxxx Xxxxxxx (1999). I Beatles come musicisti:Revolver Attraverso lâAntologia. Oxford e New York: Oxford University Press, pag. 310. ISBNà 9 780 195 129 410. URL consultato il 22 Xxxxxxx, X. (1973, p.117) p.117)"Womanizer by Xxxxxxx Xxxxxx: Digital Sheet Music". xxxxxxxxxx.xxx Retrieved 25 June 2019. ^ Xxx XxXxxx, a Xxxxxx letter reproduced in the CD liner notes, BGO CD693 "Xxxx Xxx Xxx Video Games – Digital Sheet Music". Xxxxxxxxxx.xxx EMI Music Publishing. "G.U.Y by Xxxx Xxxx: Digital Sheet Music". xxxxxxxxxx.xxx Retrieved 15 March 2015. ^ Xxxxxxx, Xxxxx (2006.) British Hit Singles & Albums (19th ed.) London:
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