Musical Authorship from Schütz to Bach
Series: Musical Performance and Reception;
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45 549 Ft (43 380 Ft + 5% VAT)
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45 549 Ft
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Product details:
- Publisher Cambridge University Press
- Date of Publication 30 May 2019
- ISBN 9781108421072
- Binding Hardback
- No. of pages258 pages
- Size 252x180x17 mm
- Weight 690 g
- Language English
- Illustrations 14 b/w illus. 2 tables 12 music examples 24
Categories
Short description:
Explores the meanings of the term 'author' for seventeenth-century German musicians, examining how compositions were made and used.
MoreLong 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
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.
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