Henry Purcell: The Origins and Development of His Musical StyleCambridge University Press, 1995 M03 9 - 388 páginas This is the first book thoroughly to explore the musical style of Henry Purcell. In this comprehensive study, Martin Adams identifies music by other composers, both within England and from abroad, which influenced Purcell's compositional decisions. Using a mix of broad stylistic observation and detailed analysis, Adams distinguishes between late seventeenth-century English style in general and Purcell's style in particular and chronicles the changes in the composer's approach to the main genres in which he worked, especially the newly emerging ode and English opera. As a result, Adams reveals that although Purcell went through a marked stylistic development, encompassing an unusually wide range of surface changes, special elements of his style remained constant. The book will be of interest to students and scholars of music and theatre history and of British cultural and social history. |
Contenido
developments to c 1680 | 3 |
c 1680 to c 1685 | 22 |
c 1689 to c 1691 | 55 |
c 1692 | 73 |
early instrumental | 89 |
sacred music to c 1685 | 164 |
sacred music after c 1685 | 187 |
dramatic music to 1689 | 272 |
dramatic music from 1692 | 310 |
Notes | 353 |
ΙΟ | 363 |
371 | |
Otras ediciones - Ver todas
Henry Purcell: The Origins and Development of his Musical Style Martin Adams Sin vista previa disponible - 2009 |
Henry Purcell: The Origins and Development of His Musical Style Martin Adams,Martin H. Adams Sin vista previa disponible - 1995 |
Términos y frases comunes
Albion and Albanius arpeggio articulated bars beginning canzona chorus chromatic chromaticism composer compositional context continuo contrapuntal contrasts Court Odes Dance descending Dido and Aeneas Dioclesian dissonance dominant downbeat dramatic duet earlier elaborate English entry example expressive Fairy Queen Fantasia flutes full close function G minor ground bass Hark harmonic areas harmonic structure Henry Purcell imitation Indian Queen instrumental music Ismeron Italian King Arthur London Stage Lord Love major melodic motifs motivic move movement musico-dramatic oboes opening symphony opera Overture patterns phrase piece pitch prelude produced progression prolongation prominent Purcell's quavers recitative relationship repetition reworking rhythmic ritornello rondeau scale scalic scene second section Sing solo sonatas song soprano statements stress strings style stylistic techniques tension texture Thou Tilmouth tonic trumpets verse anthem Vin I Vin Vin II Vla violins Vla Bc vocal voice Westrup Zimmerman