ECU Libraries Catalog
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LEADER 03318cam 2200409 a 4500
001
ocm70199911
003
OCoLC
005
20141211194659.0
008
060623s2007 enkag b 001 0 eng
010
a| 2006021141
020
a| 0754605671 (hbk. : alk. paper)
020
a| 9780754605676 (hbk. : alk. paper)
035
a| (Sirsi) o70199911
035
a| (OCoLC)70199911
040
a| DLC
c| DLC
d| UKM
d| BAKER
d| BTCTA
d| BWKUK
d| YDXCP
d| IXA
d| UtOrBLW
049
a| EREM
050
0
0
a| ML442
b| .N87 2007
082
0
0
a| 781.47
2| 22
100
1
a| Nuti, Giulia,
d| 1976-
=| ^A715831
245
1
4
a| The performance of Italian basso continuo :
b| style in keyboard accompaniment in the seventeenth and eighteenth centuries /
c| by Giulia Nuti.
260
a| Aldershot, England ;
a| Burlington, VT :
b| Ashgate,
c| ©2007.
300
a| xiv, 148 pages :
b| illustrations, music ;
c| 24 cm
336
a| text
2| rdacontent
337
a| unmediated
2| rdamedia
338
a| volume
2| rdacarrier
504
a| Includes bibliographical references (pages 133-139) and indexes.
505
0
0
g| Introduction --
t| Forms of accompaniment in the sixteenth century --
t| The early seventeenth century --
t| The eighteenth century --
t| The end of basso continuo creativity.
520
a| Basso continuo accompaniment calls upon a complex tapestry of harmonic, rhythmic, compositional, analytical and improvisational skills. The evolving knowledge that underpinned the performance of basso continuo was built up and transmitted from the late 1500s to the second half of the eighteenth century, when changes in instruments together with the assertion of control by composers over their works brought about its demise. By tracing the development of basso continuo over time and across the regions of Italy where differing practices emerged, the author accesses this body of musical usage. Sources include the music itself, introductions and specific instructions and requirements in song books and operas, contemporary accounts of performances and, in the later period of basso continuo, description and instruction offered in theoretical treatises. Changes in instruments and instrumental usage and the resulting sounds available to composers and performers are considered, as well as the altering relationship between the improvising continuo player and the composer. Extensive documentation from both manuscript and printed sources, some very rare and others better known, in the original language, followed by a precise English translation, is offered in support of the arguments. There are also many musical examples, transcribed and in facsimile. The author provides both a scholarly account of the history of basso continuo and a performance-driven interpretation of how this music might be played.
650
0
a| Continuo
z| Italy.
=| ^A36406
650
0
a| Performance practice (Music)
y| 17th century.
=| ^A252120
650
0
a| Performance practice (Music)
y| 18th century.
=| ^A252120
650
0
a| Music
z| Italy
y| 18th century
x| History and criticism.
=| ^A1032612
650
0
a| Music
z| Italy
y| 17th century
x| History and criticism.
=| ^A1065613
994
a| C0
b| ERE
596
a| 3
998
a| 1082993
999
a| ML442 .N87 2007
w| LC
c| 1
i| 30372014057654
d| 7/16/2014
e| 12/12/2012
f| 4/4/2024
g| 4
l| MST
m| JMUSIC
n| 3
r| Y
s| Y
t| MGESBK
u| 7/11/2007
x| BOOK
z| MCIRC
o| .STAFF. enhanced 10/31/22 -jjab