Product details:
| ISBN13: | 9781108421072 |
| ISBN10: | 1108421075 |
| Binding: | Hardback |
| No. of pages: | 258 pages |
| Size: | 252x180x17 mm |
| Weight: | 690 g |
| Language: | English |
| Illustrations: | 14 b/w illus. 2 tables 12 music examples |
| 49 |
Category:
Musical Authorship from Schütz to Bach
Series:
Musical Performance and Reception;
Publisher: Cambridge University Press
Date of Publication: 30 May 2019
Normal price:
Publisher's listprice:
GBP 90.00
GBP 90.00
Your price:
37 800 (36 000 HUF + 5% VAT )
discount is: 20% (approx 9 450 HUF off)
Discount is valid until: 31 December 2024
The discount is only available for 'Alert of Favourite Topics' newsletter recipients.
Click here to subscribe.
Click here to subscribe.
Availability:
Estimated delivery time: In stock at the publisher, but not at Prospero's office. Delivery time approx. 3-5 weeks.
Not in stock at Prospero.
Can't you provide more accurate information?
Not in stock at Prospero.
Short description:
Explores the meanings of the term 'author' for seventeenth-century German musicians, examining how compositions were made and used.
Long description:
What did the term 'author' denote for Lutheran musicians in the generations between Heinrich Sch&&&252;tz and Johann Sebastian Bach? As part of the Musical Performance and Reception series, this book examines attitudes to authorship as revealed in the production, performance and reception of music in seventeenth-century German lands. Analysing a wide array of archival, musical, philosophical and theological texts, this study illuminates notions of creativity in the period and the ways in which individuality was projected and detected in printed and manuscript music. Its investigation of musical ownership and regulation shows how composers appealed to princely authority to protect their publications, and how town councils sought to control the compositional efforts of their church musicians. Interpreting authorship as a dialogue between authority and individuality, this book uses an interdisciplinary approach to explore changing attitudes to the self in the era between Sch&&&252;tz and Bach.
'The writing is clear, the scholarship impeccable. This is a valuable addition to the historical musicology literature.' B. J. Murray, Choice
'The writing is clear, the scholarship impeccable. This is a valuable addition to the historical musicology literature.' B. J. Murray, Choice
Table of Contents:
Introduction; 1. God, talent, craft: concepts of musical creativity; 2. Between imitatio and plagiarism; 3. Signs of individuality; 4. Rites of musical ownership; 5. The regulation of novelty; 6. Authorship and performance; Conclusion.
