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Style and Performance for Bowed String Instruments in French Baroque Music, P...
US $66.67
ApproximatelyRM 276.95
Condition:
Like New
A book in excellent condition. Cover is shiny and undamaged, and the dust jacket is included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear.
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Item specifics
- Condition
- Book Title
- Style and Performance for Bowed String Instruments in French Baro
- ISBN
- 9781138248373
- Subject Area
- Music
- Publication Name
- Style and Performance for Bowed String Instruments in French Baroque Music
- Publisher
- Routledge
- Item Length
- 9.2 in
- Subject
- History & Criticism, Instruction & Study / General, Musical Instruments / Strings, Ethnic
- Publication Year
- 2016
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Weight
- 16 Oz
- Item Width
- 6.1 in
- Number of Pages
- 280 Pages
About this product
Product Identifiers
Publisher
Routledge
ISBN-10
1138248371
ISBN-13
9781138248373
eBay Product ID (ePID)
229083304
Product Key Features
Number of Pages
280 Pages
Publication Name
Style and Performance for Bowed String Instruments in French Baroque Music
Language
English
Subject
History & Criticism, Instruction & Study / General, Musical Instruments / Strings, Ethnic
Publication Year
2016
Type
Textbook
Subject Area
Music
Format
Trade Paperback
Dimensions
Item Weight
16 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
College Audience
Dewey Edition
23
Dewey Decimal
787/.1430944
Synopsis
Mary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and "special effects" such as tremolo and harmonics. Part IV introduces four composer profiles that examine performance issues in the music of Ã%lisabeth Jacquet de La Guerre, Marin Marais, Jean-Baptiste Barrière, and the Forquerays (father and son). The diversity of compositional styles among this group of composers, and the virtuosity they incorporated in their music, generate a broad field for discussing issues of performance practice and offer opportunities to explore controversial themes within the context of specific pieces., Mary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and "special effects" such as tremolo and harmonics. Part IV introduces four composer profiles that examine performance issues in the music of Ã0/00lisabeth Jacquet de La Guerre, Marin Marais, Jean-Baptiste Barrière, and the Forquerays (father and son). The diversity of compositional styles among this group of composers, and the virtuosity they incorporated in their music, generate a broad field for discussing issues of performance practice and offer opportunities to explore controversial themes within the context of specific pieces., Mary Cyr addresses the needs of researchers, performers, and informed listeners who wish to apply knowledge about historically informed performance to specific pieces. Special emphasis is placed upon the period 1680 to 1760, when the viol, violin, and violoncello grew to prominence as solo instruments in France. Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Part II summarizes the present state of research on bowed string instruments (violin, viola, cello, contrebasse, pardessus de viole, and viol) in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and "special effects" such as tremolo and harmonics. Part IV introduces four composer profiles that examine performance issues in the music of 0/00lisabeth Jacquet de La Guerre, Marin Marais, Jean-Baptiste Barri re, and the Forquerays (father and son). The diversity of compositional styles among this group of composers, and the virtuosity they incorporated in their music, generate a broad field for discussing issues of performance practice and offer opportunities to explore controversial themes within the context of specific pieces.
Item description from the seller
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