The stylus phantasticus and free keyboard music of the North German Baroque / Paul Collins

Av: Utgivning: Aldershot : Ashgate, 2005Beskrivning: 229 s. : musiknoterISBN:
  • 0-7546-3416-7
Ämne: DDK-klassifikation:
  • 786/.0943/09032 22
LC-klassifikation:
  • ML430.5 .C65 2004
SAB-klassifikation:
  • Ijd
  • Ij:d
  • Ijb-fa.43
Innehåll:
Classifications of musical style during the seventeenth and early eighteenth centuries ; Kircher's Musurgia universalis (1650) and the stylus phantasticus ; The stylus phantasticus in eighteenth-century writings : Janovka, Brossard, Mattheson, Walther, and Grassineau ; The origins of the stylus phantasticus and the style's relationship to rhetoric ; The free keyboard works of the North German organ school and the stylus phantasticus.
Sammanfattning: The concept of stylus phantasticus as it was expressed in free keyboard music of the north German Baroque is the focus of this book. Exploring the theoretical background to the style and its application by composers and performers, the author surveys the development of Athanasius Kircher's original concept and its influence on music theorists
Holdings
Cover image Item type Current library Home library Collection Shelving location Call number Materials specified Vol info URL Copy number Status Notes Date due Barcode Item holds Item hold queue priority Course reserves
Book Musik- och teaterbiblioteket Magasin A B25.846 1 Available 26201812395
Total holds: 0

Classifications of musical style during the seventeenth and early eighteenth centuries ; Kircher's Musurgia universalis (1650) and the stylus phantasticus ; The stylus phantasticus in eighteenth-century writings : Janovka, Brossard, Mattheson, Walther, and Grassineau ; The origins of the stylus phantasticus and the style's relationship to rhetoric ; The free keyboard works of the North German organ school and the stylus phantasticus.

The concept of stylus phantasticus as it was expressed in free keyboard music of the north German Baroque is the focus of this book. Exploring the theoretical background to the style and its application by composers and performers, the author surveys the development of Athanasius Kircher's original concept and its influence on music theorists

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