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This appears to be a bibliography listing sources referenced in a document or work. It includes over 50 references to books, articles, facsimiles, editions, dissertations and more related to music history, performance, notation, counterpoint, improvisation and other musical topics from the medieval through Renaissance eras. The references are listed alphabetically by author or title and include publication details such as publisher, date and location.
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Massimiliano Guido (Editor) - Studies in Historical Improvisation_ From Cantare super Librum to Partimenti-Routledge (2017)_228
This appears to be a bibliography listing sources referenced in a document or work. It includes over 50 references to books, articles, facsimiles, editions, dissertations and more related to music history, performance, notation, counterpoint, improvisation and other musical topics from the medieval through Renaissance eras. The references are listed alphabetically by author or title and include publication details such as publisher, date and location.
This appears to be a bibliography listing sources referenced in a document or work. It includes over 50 references to books, articles, facsimiles, editions, dissertations and more related to music history, performance, notation, counterpoint, improvisation and other musical topics from the medieval through Renaissance eras. The references are listed alphabetically by author or title and include publication details such as publisher, date and location.
———, ed. La Música en la Catedral de Granada en el Siglo XVI. Granada: Fundación
Rodríguez Acosta, 1963. Lorenzetti, Stefano. “‘Arboream Inspicias Figuram’. Figure e Luoghi di Memoria nel Pensiero e nella Pratica Musicale tra Cinque e Seicento”. In Memory and Invention. Medieval and Renaissance Literature, Art and Music, edited by Anna Maria Busse Berger and Massimiliano Rossi, 99–150. Firenze: Olschki, 2009. ———. “‘La sventurata musica… sì veloce nel morire.’ Rapporti tra musica e arte della memoria tra Cinque e Seicento”. Recercare, 14 (2002): 3–30. Luis López, Carmelo, ed. Estatutos y Ordenanzas de la Iglesia Catedral de Ávila. Ávila: Gran Duque de Alba, 2004. Lusitano, Vicente. Introduttione Facilissima e Novissima di Canto Fermo, Figurato, Contraponto Semplice et in Concerto (Roma, 1553). Lutz, Rudolf. “The Playing of Partimento: Comprehensive Training for the Composing and Improvising Interpreter”. In Partimento and Continuo Playing in Theory and Practice, edited by Dirk Moelants, 113–27. Leuven: Leuven University Press, 2010. Macchiarella, Ignazio. Il Falsobordone fra tradizione orale e scritta. Lucca: LIM, 1995. Manuscrit italien de Frottole (1502), facsimilé du Ms de la Bibliothèque nationale, Paris, rés. Vm7 676. Geneva: Minkoff, 1979. Marot, Clément and de Bèze, Théodore. Les psaumes en vers français avec leurs mélodies, fac-similé de l‘Edition genevoise de 1562. Edited by Pierre Pidoux. Genève: Droz, 1986. Marpurg, Friedrich Wilhelm. Abhandlung von der Fuge. 2 vols. Berlin, 1753–54. Martin, Henry. Charlie Parker and Thematic Improvisation. Lanham: Scarecrow Press, 1996. Mayer Brown, Howard. “Emulation, Competition, and Homage: Imitation and Theories of Imitation in the Renaissance”. Journal of the American Musicological Society 35 (1982): 1–48. McClintock, Carol, ed. and trans. Readings in the History of Music Performance. Bloomington: Indiana University Press, 1982. McGee, Timothy, ed. Improvisation in the Arts of the Middle Ages and Renaissance. Kalamazoo: Western Michigan University, 2003. Menke, Johannes. Kontrapunkt I: Die Musik der Renaissance. Laaber: Laaber-Verlag, 2015. Métoyen, Jean-Baptiste. Ouvrage complet pour l’éducation du serpent, ed. Benny Sluchin. Paris: Editions Musicales Européennes, 2002. Miller, Clement A. “The Dodecachordon of Heinrich Glarean”. PhD diss., University of Michigan, 1950. Mishkin, Henry G. “Incomplete Notation in Mozart’s Piano Concertos”. The Musical Quarterly 61/3 (1975): 345–59. Moelants, Dirk, ed. Improvising Early Music. Collected Writings of the Orpheus Institute, 10. Leuven: Leuven University Press, 2014. ———. Partimento and Continuo Playing in Theory and Practice. Collected Writings of the Orpheus Institute, 6. Leuven: Leuven University Press, 2010. Moll, Keven. Counterpoint and Compositional Process in the Time of Dufay: Perspectives from German Musicology. New York: Garland, 1998. Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: The University of Chicago Press, 1996. Montanos, Francisco de. Arte de Música teórica y práctica. Valladolid, 1592. Morelli, Arnaldo. “Una Nuova Fonte per la Musica di Ghiselino Danckerts ‘Musico e Cantore Cappellano della Cappella del Papa’”. Recercare 21 (2009): 75–110.