Log in

Relevant bibliographies by topics / 17th-century music

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic '17th-century music'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic '17th-century music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "17th-century music"

1

SILBIGER, ALEXANDER. "‘17TH CENTURY KEYBOARD MUSIC’." Music and Letters 72, no. 2 (1991): 351–53. http://dx.doi.org/10.1093/ml/72.2.351.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

GUSTAFSON, BRUCE. "‘17TH CENTURY KEYBOARD MUSIC’." Music and Letters 72, no. 2 (1991): 353. http://dx.doi.org/10.1093/ml/72.2.353.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Holman, P. "Performing 17th-century music." Early Music 41, no. 2 (2013): 335–37. http://dx.doi.org/10.1093/em/cat038.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Holman, Peter. "17th-century England." Early Music 33, no. 2 (2005): 352–54. http://dx.doi.org/10.1093/em/cah090.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Woodfield, Ian. "17th-century English consorts." Early Music XXII, no. 3 (1994): 514–20. http://dx.doi.org/10.1093/earlyj/xxii.3.514.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Johnston, G. S. "Surveying the 17th century." Early Music 35, no. 2 (2007): 293–95. http://dx.doi.org/10.1093/em/cam018.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Crawford, Tim. "Lute music form 17th-century Strasbourg." Early Music XXIII, no. 3 (1995): 513–16. http://dx.doi.org/10.1093/earlyj/xxiii.3.513.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Combes, Liz. "16th- and 17th-Century Italy." Musical Times 136, no. 1826 (1995): 194. http://dx.doi.org/10.2307/1004173.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Cooper, Barry. "A 17th-century English Keyboard." Early Music XXIII, no. 1 (1995): 158–60. http://dx.doi.org/10.1093/earlyj/xxiii.1.158.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Giuliani, R. "Instrumental music of the early 17th century." Early Music 39, no. 1 (2011): 117–19. http://dx.doi.org/10.1093/em/caq127.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "17th-century music"

1

Strahle, Graham. "Fantasy and music in sixteenth- and seventeenth-century England /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09PH/09phs896.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Meredith, Victoria Rose. "The use of chorus in baroque opera during the late seventeenth century, with an analysis of representative examples for concert performance." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186254.

Full text

Abstract:

The intent of this study is twofold: first, to explore the dramatic and musical functions of chorus in baroque operas in Italy, France, and England; second, to identify choral excerpts from baroque operas suitable for present-day concert performance. Musical and dramatic functions of chorus in baroque opera are identified. Following a brief historical overview of the use of chorus in the development of Italian, French, and English baroque opera, representative choruses are selected for analysis and comparison. Examples are presented to demonstrate characteristic musical use of chorus in baroqu

APA, Harvard, Vancouver, ISO, and other styles

3

Anderson, Simon John. "Music by members of the Choral Foundation of Durham Cathedral in the 17th century." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/1166/.

Full text

Abstract:

Durham Cathedral is known to possess one of the largest and most intact collections of 17th-century liturgical music manuscripts in the world. That so much material survived the trauma of the Commonwealth is fortuitous indeed. The history of the pre-Civil War manuscripts has already been researched, and those after the Restoration have been investigated to a degree. The present research is concerned with a detailed study of the music composed by the many Durham musicians of the 17th century contained in the manuscripts, and their related sources. In total over 80 works by 20 composers are repr

APA, Harvard, Vancouver, ISO, and other styles

4

O'Regan, Thomas Noel. "Sacred polychoral music in Rome, 1575-1621." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:daa9a67e-cf31-4a1b-8d74-4b814acb6957.

Full text

Abstract:

The object of this thesis is to lay open a repertory of music which has long been ignored, the music for two and more choirs composed by Roman composers of the generation of Palestrina and his immediate successors. Polychoral music is taken to mean music in which two or more independent and consistent groups of voices take part, singing separately and together; the parts should remain independent in tuttl sections, with the possible exception of the bass parts. By this definition, the first real polychoral music to be published in Rome was that by Giovanni P. da Palestrina in his Motettorum li

APA, Harvard, Vancouver, ISO, and other styles

5

Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

Full text

Abstract:

In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the develo

APA, Harvard, Vancouver, ISO, and other styles

6

Fang, Ming-Jian. "Notational systems and practices for the lute, vihuela and guitar from the Renaissance to the present day." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/558361.

Full text

Abstract:

Discussion in this dissertation is directed toward the lute, vihuela and guitar's notational systems and practices: chapters two, three, four, and five are concerned with the stylistic changes in the notations. The history of the tablatures is presented in a paralled fashion with that of the four-course and five-course guitars. An attempt is made to eliminate the guitarist's lack of knowledge about most practices and about subtle differences in performance. This is accomplished by presenting the development of these notations from the Renaissance to the present day.This study is concerned with

APA, Harvard, Vancouver, ISO, and other styles

7

Jackson, Simon John. "The literary and musical activities of the Herbert family." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283892.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Kirk, Douglas Karl. "Churching the shawms in Renaissance Spain : Lerma, archivo de San Pedro ms. mus. 1." Diss., McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=77431.

Full text

Abstract:

Numerous studies have shown that in the sixteenth and seventeenth centuries Spanish churches (both metropolitan and monastic) employed bands of wind instrumentalists to play frequently in liturgies and processions throughout the church year. Exactly what this music was, though, beyond colla parte participation in masses and motets has remained conjectural because not a note of it has been found. This dissertation is a study and edition of a major, newly-discovered manuscript which contained part of the repertory of the minstrels who served the Duke of Lerma, c. 1607, in the collegial church of

APA, Harvard, Vancouver, ISO, and other styles

9

Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.

Full text

Abstract:

The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It

APA, Harvard, Vancouver, ISO, and other styles

10

Katz, Jonathan. "The musicological portions of the Saṅgītanārāyaṇa : a critical edition and commentary". Thesis, University of Oxford, 1987. http://ora.ox.ac.uk/objects/uuid:14ee1fc0-dcae-4183-9481-0add2a7d42f3.

Full text

Abstract:

The Saṅgītanārāyaṇa, attributed to the Gajapati king Nārāyad nadeva of Parlākhimidi but almost certainly composed by his guru Kaviratna Purud sottamamisra, is the most extensive surviving Sanskrit treatise on music to have been composed in the eastern region of India now known as Orissa. The treatise contains four chapters, gītanirnaya (on vocal music), vādyanirṇaya (on instruments), nāṭyanirṇaya (on dance and the mimetic art), and śuddhaprabandhodāharaṇa (sample compositions of the śuddha and sālaga varieties). The thesis contains a critical edition of the first, second and fourth of these ch

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "17th-century music"

1

Ledbetter, David. Harpsichord and lute music in 17th-century France. Indiana University Press, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Ledbetter, David. Harpsichord and lute music in 17th-century France. Macmillan, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ledbetter, David. Harpsichord and Lute Music in 17th-Century France. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-64014-0.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

1935-, Odell Scott, ed. The metallurgy of 17th- and 18th- century music wire. Pendragon Press, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

The interpretation of 16th and 17th century Iberian keyboard music. Pendragon Press, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Music in the seventeenth century. Cambridge University Press, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Introduction to organ playing in 17th & 18th century style. Wayne Leupold Editions, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Desire and pleasure in seventeenth-century music. University of California Press, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Craig (Craig A.) Monson. Disembodied voices: Music and culture in an early modern Italian convent. University of California Press, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Rivera, Benito V. German music theory in the early 17th century: The treatises of Johannes Lippius. University of Rochester Press, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "17th-century music"

1

Ledbetter, David. "Stringed Keyboard Instruments." In Harpsichord and Lute Music in 17th-Century France. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-64014-0_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Ledbetter, David. "Basic Features of Lute and Keyboard Styles." In Harpsichord and Lute Music in 17th-Century France. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-64014-0_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ledbetter, David. "The Relationship of Original Harpsichord Repertoire to Lute Style." In Harpsichord and Lute Music in 17th-Century France. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-64014-0_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

"MUSIC IN 17TH-CENTURY DUTCH PROSE FICTION." In Sounding Prose. Anthem Press, 2022. http://dx.doi.org/10.2307/j.ctv2c3k1gp.10.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

"FUNCTIONS OF MUSIC IN 17TH-CENTURY DUTCH PROSE." In Sounding Prose. Anthem Press, 2022. http://dx.doi.org/10.2307/j.ctv2c3k1gp.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Stipčević, Ennio. "LIBRETTI WITHOUT MUSIC." In The Italian Opera Libretto and Dubrovnik Theatre (17th and 18th Century). Hollitzer Verlag, 2020. http://dx.doi.org/10.2307/j.ctv11qdw8q.13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Żerańska-Kominek, Sławomiira. "Writing the History of Unwritten Music: On the Treatise of Darwesh ‘Ali Changi (17th Century)." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0008.

Full text

Abstract:

The chapter deals with the representation of memory about the musical past as represented in the Risalei musiqi by Darweh ‘Ali Changi, music master from Transoxiana (b. c.1547, d. after 1611). This treatise, written in the convention of adab genre, is an exceptional document of an essentially oral tradition, with its ‘unacademic’ way of organising musical knowledge, free from philosophical-scientific discipline and mathematical speculation, immersed in myth, legend and fable, most closely linked to poetry. It represents an attempt to fix in writing knowledge that existed in the form of a non-formalised, free-ranging discourse, testified directly by the memory of living musicians and beyond its boundaries transformed into a mythical complex.

APA, Harvard, Vancouver, ISO, and other styles

8

Wright, Owen. "Bridging the Safavid–Ottoman Divide." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0009.

Full text

Abstract:

In both Persian and Turkish art-music traditions, despite their significant current differences, the musical idiom of the 15th-century Timurid court is regarded as a significant forbear. Late 15th-century theoretical literature, however, refers to regional variations across the Middle East; these were exacerbated by a lack of continuity in Safavid and Ottoman court patronage during the 16th century, resulting in loss of repertoire and eventual replacement. Yet in the late 17th century commonalities between Safavid and Ottoman art-music practices re-emerge. Although not identical, indeed partly divergent, these practices share a core of frequently used modes and rhythmic cycles and use the same structures for complex song-settings; they even have elements of vocal repertoire in common, while certain Ottoman instrumental pieces are labelled ‘Persian’. There is evidence for the maintenance in both traditions of aesthetic constants in the domains of modulatory practice and formal articulation that can be observed much earlier.

APA, Harvard, Vancouver, ISO, and other styles

9

Stipčević, Ennio. "OPERATIC REFORM IN CROATIAN TRAGICOMEDY AND MUSIC." In The Italian Opera Libretto and Dubrovnik Theatre (17th and 18th Century). Hollitzer Verlag, 2020. http://dx.doi.org/10.2307/j.ctv11qdw8q.12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Stipčević, Ennio. "THE RENAISSANCE HERITAGE IN BAROQUE THEATRE AND MUSIC." In The Italian Opera Libretto and Dubrovnik Theatre (17th and 18th Century). Hollitzer Verlag, 2020. http://dx.doi.org/10.2307/j.ctv11qdw8q.9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "17th-century music"

1

Stoessel, Jason, Denis Collins, and Scott Bolland. "Using Optical Music Recognition to Encode 17th-Century Music Prints." In DLfM '20: 7th International Conference on Digital Libraries for Musicology. ACM, 2020. http://dx.doi.org/10.1145/3424911.3425517.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Haug, Judith I. "»Manch eine*r liegt, morgens noch trunken, im Rosengarten« – Rekonstruktionen osmanischer Musikgeschichte in Gesangstextsammlungen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.56.

Full text

Abstract:

In Ottoman music culture, song text collections (güfte mecmūʿaları) play a crucial role in transmitting vocal repertoire. They employ paratext which supplies information about modal and rhythmic organisation as well as genre, composer and author attribution. In combination with oral tradition continuing until the present day, this method was understood as sufficient in the prevalent absence of notation until roughly the mid-19th century. Using the example of “Kimi mestāne seḥer yār ile gülşende yatur” by Rūḥī-yi Baġdādī, a poem set to music at least three times since around the mid-17th centur

APA, Harvard, Vancouver, ISO, and other styles

3

YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

Full text

Abstract:

Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and dra

APA, Harvard, Vancouver, ISO, and other styles

4

Martincek, Peter Jan. "RECONSTRUCTION PROBLEMS OF 17TH-CENTURY MUSICAL COMPOSITIONS WRITTEN IN NEW GERMAN ORGAN TABLATURE NOTATION WITH SPECIFIC EXAMPLES FROM LEVOCSKA ZBIERKA HUDOBNIN THE LEVOCA MUSIC COLLECTION." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

NII, YOKO. "THE JESUIT JEAN-JOSEPH-MARIE AMIOT AND CHINESE MUSIC IN THE EIGHTEENTH CENTURY." In Europe and China: Science and the Arts in the 17th and 18th Centuries. WORLD SCIENTIFIC, 2012. http://dx.doi.org/10.1142/9789814390446_0004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!