Log in

Relevant bibliographies by topics / 17th-century music / Journal articles

To see the other types of publications on this topic, follow the link: 17th-century music.

Journal articles 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 top 50 journal articles for your research 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.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

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

11

Wilson, Anthony. "17th- and Early 18th-Century France." Musical Times 136, no. 1826 (1995): 195. http://dx.doi.org/10.2307/1004174.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Barker, Naomi Joy. "Tempered extravagance: 17th century keyboard collections." Early Music XXIII, no. 4 (1995): 713–14. http://dx.doi.org/10.1093/earlyj/xxiii.4.713.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Carter, Stewart. "The string tremolo in the 17th century." Early Music XIX, no. 1 (1991): 43–60. http://dx.doi.org/10.1093/earlyj/xix.1.43.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Beurmann, A. "Iberian discoveries: six Spanish 17th century harpsichords." Early Music 27, no. 2 (1999): 183–208. http://dx.doi.org/10.1093/em/27.2.183.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Beletskaya, Olga A. "Clavier Music of Germany in the 17th Century." ICONI, no. 2 (2021): 30–40. http://dx.doi.org/10.33779/2658-4824.2021.2.030-040.

Full text

Abstract:

17th century German clavier music presents a capacious stratum of culture of the Baroque period, which is of enormous interest. Frequently it is perceived as an enormous transition to J.S. Bach’s musical legacy, but upon more assiduous examination it turns out that this stratum has its own value, although, obviously, it could not do otherwise than create the footing for the musical culture of the following 18th century. The present article has an overview character and is meant to summate the most important phenomena which could give an overall perception of the chronological order of the form

APA, Harvard, Vancouver, ISO, and other styles

16

Cave, Penelope, and David Ledbetter. "Harpsichord and Lute Music in 17th-Century France." Galpin Society Journal 42 (August 1989): 152. http://dx.doi.org/10.2307/842640.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Byrt, John, and Stephen E. Hefling. "Rhythmic Alteration in 17th-and 18th-Century Music." Musical Times 136, no. 1829 (1995): 358. http://dx.doi.org/10.2307/1004335.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Meyer, Christian, and David Ledbetter. "Harpsichord and Lute Music in 17th-Century France." Revue de musicologie 74, no. 1 (1988): 106. http://dx.doi.org/10.2307/928177.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Bruni, Franco. "17th-century music prints at Mdina Cathedral, Malta." Early Music XXVII, no. 3 (1999): 467–80. http://dx.doi.org/10.1093/earlyj/xxvii.3.467.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Zaslaw, Neal. "The Italian violin school in the 17th century." Early Music XVIII, no. 4 (1990): 515–18. http://dx.doi.org/10.1093/earlyj/xviii.4.515.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Sayce, Lynda. "Continuo lutes in 17th and 18th-century England." Early Music XXIII, no. 4 (1995): 666–84. http://dx.doi.org/10.1093/earlyj/xxiii.4.666.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Pruitt, William. "A 17th-century French manuscript on organ performance." Early Music 14, no. 2 (1986): 237–52. http://dx.doi.org/10.1093/earlyj/14.2.237.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Thorp, J. "Dance in late 17th-century London: Priestly muddles." Early Music 26, no. 2 (1998): 198–212. http://dx.doi.org/10.1093/em/26.2.198.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Pierce, K. "Dance notation systems in late 17th-century France." Early Music 26, no. 2 (1998): 286–99. http://dx.doi.org/10.1093/em/26.2.286.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Burden, Michael. "‘A very good designe’: music from 17th-century England." Early Music XXII, no. 2 (1994): 345–48. http://dx.doi.org/10.1093/earlyj/xxii.2.345.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Estudante, P. "A new 17th-century Iberian source of instrumental music." Early Music 34, no. 4 (2006): 645–60. http://dx.doi.org/10.1093/em/cal039.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Wraight, Denzil, Martha Goodway, and Jay Scott Odell. "The Metallurgy of 17th- and 18th-Century Music Wire." Galpin Society Journal 42 (August 1989): 174. http://dx.doi.org/10.2307/842655.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Irving, D. R. M. "Italian (and related) instrumental music of the 17th century." Early Music 40, no. 2 (2012): 325–28. http://dx.doi.org/10.1093/em/cas053.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Murata, Margaret, and Anne Schnoebelen. "Solo Motets from the 17th Century." Notes 45, no. 4 (1989): 836. http://dx.doi.org/10.2307/941234.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Waterhouse, William. "OBSERVATION: A newly discovered 17th-century bassoon by Haka." Early Music XVI, no. 3 (1988): 407–10. http://dx.doi.org/10.1093/earlyj/xvi.3.407.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Bruni, F. "Performing matters. 17th-century music prints at Mdina Cathedral, Malta." Early Music 27, no. 3 (1999): 467–79. http://dx.doi.org/10.1093/em/27.3.467.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Stein, Beverly. "Carissimi's Tonal System and the Function of Transposition in the Expansion of Tonality." Journal of Musicology 19, no. 2 (2002): 264–305. http://dx.doi.org/10.1525/jm.2002.19.2.264.

Full text

Abstract:

The question of 17th-century tonality has intrigued scholars for years: how to make sense of a repertoire in which modal concepts appear to coexist with elements of common-practice tonality. Although the system of modes and that of modern tonality are different constructions, the aspect of functional tonality that allows for the presence of major and minor keys at all 12 levels of transposition developed in part from an extension of a technique carried over from modal practice, that of transposition of mode. Nowhere is this process of tonal expansion based on the concept of transposition of mo

APA, Harvard, Vancouver, ISO, and other styles

33

Lionnet, Jean. "Performance practice in the Papal Chapel during the 17th century." Early Music XV, no. 1 (1987): 3–15. http://dx.doi.org/10.1093/earlyj/xv.1.3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Ranum, Patricia. "Audible rhetoric and mute rhetoric: the 17th-century French sarabande." Early Music 14, no. 1 (1986): 22–40. http://dx.doi.org/10.1093/earlyj/14.1.22.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Giles, Roseen. "‘Amor profano, amor sacro’: Musical orators of the 17th century." Early Music 48, no. 2 (2020): 272–75. http://dx.doi.org/10.1093/em/caaa030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Jeż, Tomasz. "Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century, ed. Marina Toffetti, Kraków 2018." Muzyka 64, no. 1 (2019): 155–58. http://dx.doi.org/10.36744/m.250.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

MacLeod, Brian James. "Tunes of Glory." MUSIC.OLOGY.ECA 1 (September 11, 2020): 78–91. http://dx.doi.org/10.2218/music.2020.5699.

Full text

Abstract:

The late-16th through to the early-17th century was a period of unprecedented upheaval and conflict throughout the British Isles. This article explores the transformative rise in social status of pipers in Highland society during this period of social, political, economic, and cultural change. Bagpipes, traditionally assigned a low-caste role in society in Ireland and Scotland, were transformed into a vehicle for a highly developed form of musical composition, ceòl mòr (‘great music’). The article examines the factors which allowed the families of hereditary pipers to achieve this significant

APA, Harvard, Vancouver, ISO, and other styles

38

Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.

Full text

Abstract:

During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with differe

APA, Harvard, Vancouver, ISO, and other styles

39

Chung, D. "Lully, D'Anglebert and the transmission of 17th-century French harpsichord music." Early Music 31, no. 4 (2003): 582–604. http://dx.doi.org/10.1093/em/31.4.582.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Linfield, Eva. "Formal and Tonal Organization in a 17th-Century Ritornello/Ripieno Structure." Journal of Musicology 9, no. 2 (1991): 145–64. http://dx.doi.org/10.2307/763550.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Walls, Peter. "The influence of the Italian violin school in 17th-century England." Early Music XVIII, no. 4 (1990): 575–87. http://dx.doi.org/10.1093/earlyj/xviii.4.575.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Linfield, Eva. "Formal and Tonal Organization in a 17th-Century Ritornello/Ripieno Structure." Journal of Musicology 9, no. 2 (1991): 145–64. http://dx.doi.org/10.1525/jm.1991.9.2.03a00020.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

McGeary, Thomas, Martha Goodway, and Jay Scott Odell. "The Metallurgy of 17th- and 18th-Century Wire." Notes 45, no. 1 (1988): 61. http://dx.doi.org/10.2307/941395.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

FADER, DON. "The Honnêête homme as Music Critic: Taste, Rhetoric, and Politesse in the 17th-Century French Reception of Italian Music." Journal of Musicology 20, no. 1 (2003): 3–44. http://dx.doi.org/10.1525/jm.2003.20.1.3.

Full text

Abstract:

ABSTRACT The French concept of Taste (goûût) has largely been viewed from an 18th-century tradition of aesthetics in which philosophers attempted to incorporate it into a rationalized systematic theory of musical expression. Its original 17th-century usage, however, was derived from the principles of classical rhetoric and noble etiquette, or politesse. Following the tenets of Cicero communicated by humanist writers, these principles require the ideal gentleman (the honnêête homme) to adapt his knowledge and talents (agrééments) to the requirements of good society just as an orator carefully c

APA, Harvard, Vancouver, ISO, and other styles

45

Chung, David. "Lully, D'Anglebert and the transmission of 17th-century French harpsichord music." Early Music XXXI, no. 4 (2003): 582–606. http://dx.doi.org/10.1093/earlyj/xxxi.4.582.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Pyylampi, Olli. "Agogiikka ja rekisteröiminen esittäjän keinovaroina saksalaisessa urkumusiikissa." Trio 10, no. 1 (2021): 86–90. http://dx.doi.org/10.37453/trio.110129.

Full text

Abstract:

The subject of my doctoral studies is the use of agogics in German organ music between the 17th and the 19th century. The repertoire of my five concerts proceeded chronologically in order to demonstrate the evolution of agogics. In my written thesis, I investigate my methods of choosing stops when performing German romantic music.

APA, Harvard, Vancouver, ISO, and other styles

47

Palmer, Peter. "Further reviews." Tempo 60, no. 238 (2006): 46. http://dx.doi.org/10.1017/s0040298206290314.

Full text

Abstract:

FARKAS: Serenade for woodwind quintet; Quattro Pezzi for double bass and woodwind; Gyümölcskosár (‘Fruit Basket’); Old Hungarian Dances of the 17th Century; Rondo capriccio; Lavottiana. Ulrike Schneider (mezzosop), Daniel Dodds (vln), Dieter Lange (db), Phoebus Quintet. Toccata Classics TOCC 0019.

APA, Harvard, Vancouver, ISO, and other styles

48

Downey, P. "On sounding the trumpet and beating the drum in 17th-century England." Early Music 24, no. 2 (1996): 263–77. http://dx.doi.org/10.1093/em/24.2.263.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Milošević, Maja. "Art Music on the Island of Hvar from the 17th Century until the Beginning of the 20th Century." Arti musices 51, no. 2 (2020): 363–73. http://dx.doi.org/10.21857/y6zolbr08m.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Saunders, Steven, and Paul Walker. "Church, Stage, and Studio: Music and Its Contexts in 17th-Century Germany." Notes 48, no. 3 (1992): 863. http://dx.doi.org/10.2307/941702.

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!