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Books on the topic '1714-1787'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Kari, Michelsen, and Bonsaksen Per Fridtjov 1946-, eds. Johan Daniel Berlin, 1714-1787: Universalgeniet i Trondheim. Trondheim: Strindheim, 1987.

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2

Howard, Patricia. Christoph Willibald Gluck: A guide to research. New York: Garland Pub., 1987.

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3

1895-1978, Gluck, ed. Gluck, 1895-1978: Her biography. London: Pandora, 1988.

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4

Berlioz, Hector. The art of music and other essays: (A travers chants). Bloomington: Indiana University Press, 1994.

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5

Berlioz, Hector. Mozart, Weber, and Wagner: With various essays on musical subjects. New York, N.Y: Somerset, 1986.

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6

Berlioz, Hector. A critical study of Beethoven's nine symphonies: With "A few words on his trios and sonatas", a criticism of "Fidelio" and an introductory essay on music. Brighton, Mich: Native American Book Publishers, 1990.

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7

Howard, Patricia. Gluck: An eighteenth-century portrait in letters and documents. Oxford: Clarendon Press, 1995.

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8

Howard, Patricia. Gluck: An eighteenth-century portrait in letters and documents. Oxford: Clarendon, 1995.

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9

Mark, Blaug, ed. Pre-classical economists. Aldershot, Hants, England: E. Elgar Pub., 1991.

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10

Berlioz, Hector. The art of music and other essays =: (A travers chants). Bloomington: Indiana University Press, 1994.

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11

Chr. W. Gluck (1714-1787): Die Reform Oper. Graz: Studio Edition, 2002.

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12

Gluck. George Weidenfeld & Nicolson Ltd, 2000.

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13

Newman, Ernest. Gluck and the Opera: A Study in Musical History. University of Cambridge ESOL Examinations, 2014.

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14

Newman, Ernest. Gluck and the Opera: A Study in Musical History. University of Cambridge ESOL Examinations, 2009.

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15

Newman, Ernest. Gluck and the Opera: A Study in Musical History. Creative Media Partners, LLC, 2018.

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16

Berlioz, Hector. Gluck & His Operas. Creative Media Partners, LLC, 2015.

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17

Gluck, 1895-1978: Her biography. London: Phoenix, 2001.

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18

Christoph Willibald Gluck: A Guide to Research. Routledge, 2013.

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19

Christoph Willibald Gluck: A Guide to Research (Routledge Musical Bibliographies). Routledge, 2003.

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20

Howard, Patricia. Christoph Willibald Gluck: A Guide to Research. Taylor & Francis Group, 2013.

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21

Howard, Patricia. Christoph Willibald Gluck: A Guide to Research. Taylor & Francis Group, 2016.

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22

Howard, Patricia. Christoph Willibald Gluck: A Guide to Research. Taylor & Francis Group, 2013.

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23

Howard, Patricia. Christoph Willibald Gluck: A Guide to Research. Taylor & Francis Group, 2013.

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24

Howard, Patricia. Christoph Willibald Gluck: A Guide to Research. Taylor & Francis Group, 2013.

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25

Gluck, 1895-1978: Her biography. London: Pandora, 1989.

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26

Keefe, Simon P. Late Eighteenth-Century Composers: 5-Volume Set. Taylor & Francis Group, 2015.

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27

Gibbons, William. Building the Operatic Museum: Eighteenth-Century Opera in Fin-de-Siecle Paris. University of Rochester Press, 2017.

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28

Gibbons, William. Building the Operatic Museum: Eighteenth-Century Opera in Fin-de-Siecle Paris. University of Rochester Press, 2013.

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29

Gibbons, William. Building the Operatic Museum: Eighteenth-Century Opera in Fin-de-Siécle Paris. University of Rochester Press, 2013.

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30

Behrendt, Stephen D. The Transatlantic Slave Trade. Edited by Mark M. Smith and Robert L. Paquette. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199227990.013.0012.

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This article reviews scholarship on the transatlantic slave trade. The foundations of a slave trade historiography date to the late eighteenth-century abolition movements in North America, Britain, and France. Before then, occasional voices sounded in protest. The Dominican friar Tomás de Mercado, for example, published in 1569 an anti-slave trade tract based on his observations of slave sales in Seville and of the institution of slavery in Mexico. From 1698 to 1714, 198 pamphlets concerning the Royal African Company's monopoly were published in England. With the founding of the world's first antislavery crusade, antislavery advocates came to predominate among the researchers who were seeking information on the slave trade. Abolitionist energies coalesced in 1787–9 in London with the formation of anti-slave trade committees and the subsequent British parliamentary inquiries. In this three-year period at least twenty-five British, American, and French authors wrote about the slave trade, a total that would not be reached again until the 1970s, when academics organized the first major conferences on Atlantic slaving.

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31

Dissonance in the Republic of Letters: The Querelle Des Gluckistes Et Des Piccinnistes. London: Taylor and Francis, 2017.

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32

Darlow, Mark. Dissonance in the Republic of Letters. Taylor & Francis Group, 2020.

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33

Darlow, Mark. Dissonance in the Republic of Letters: The Querelle des Gluckistes et des Piccinnistes. Taylor & Francis Group, 2017.

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34

Darlow, Mark. Dissonance in the Republic of Letters: The Querelle des Gluckistes et des Piccinnistes. Taylor & Francis Group, 2017.

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35

Dissonance in the Republic of Letters: The Querelle des Gluckistes et des Piccinnistes. Taylor & Francis Group, 2013.

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36

Building The Operatic Museum Eighteenthcentury Opera In Findesicle Paris. Boydell & Brewer Ltd, 2013.

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37

Everist, Mark. Genealogies of Music and Memory. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546000.001.0001.

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The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer’s works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714–1787) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible—together with the soprano Pauline Viardot—for the ‘revival’ of the composer’s Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck’s music for the Parisian stage. The ‘revival’ of Orfeo is contextualized among other attempts at reviving Gluck’s works in the 1860s, and the role of Berlioz, Viardot, and a host of others re-examined.

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38

Gluck: An Eighteenth-Century Portrait in Letters and Documents. Oxford University Press, USA, 1995.

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39

Gluck. Taylor & Francis Group, 2015.

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40

Gluck. Taylor & Francis Group, 2017.

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41

Gluck. Taylor & Francis Group, 2017.

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42

Gluck and the French theatre in Vienna. Oxford: Clarendon Press, 1991.

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43

Fabel, Robin F. A. Bombast and Broadsides: George Johnstone, 1730-1787. University Alabama Press, 2002.

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44

Berlioz, Hector. A Critical Study of Beethoven's Nine Symphonies. University of Illinois Press, 2000.

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45

Morality and Viennese Opera in the Age of Mozart and Beethoven. Taylor & Francis Group, 2016.

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46

Morality and Viennese Opera in the Age of Mozart and Beethoven. Taylor & Francis Group, 2016.

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47

Nedbal, Martin. Morality and Viennese Opera in the Age of Mozart and Beethoven. Taylor & Francis Group, 2019.

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48

Morality and Viennese Opera in the Age of Mozart and Beethoven. Taylor & Francis Group, 2016.

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