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Books on the topic 'French Baroque choral music'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Consult the top 31 books for your research on the topic 'French Baroque choral music.'

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1

Anthony, James R. French baroque music from Beaujoyeulx to Rameau. Amadeus Press, 1997.

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2

M, Karns Dean, ed. Dance rhythms of the French Baroque: A handbook for performance. Indiana University Press, 1987.

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3

Style and performance for bowed string instruments in French baroque music. Ashgate Pub., 2012.

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4

Musique baroque en Basse-Normandie (1994 Caen, France). Semaine sainte: Festival de musique baroque en Basse-Normandie du 26 mars au 2 avril 1994. Actes Sud, 1994.

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5

Cyr, Mary. Essays on the performance of Baroque music: Opera and chamber music in France and England. Ashgate, 2008.

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6

Cyr, Mary. Essays on the performance of Baroque music: Opera and chamber music in France and England. Ashgate, 2008.

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7

French baroque music of New Orleans: Spiritual songs from the Ursuline convent (1736) = Musique francaise baroque a la Nouvelle-Orleans : recueil d'airs spirituels des ursulines (1736). The Historic New Orleans Collection, 2014.

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8

Dance to Honour Kings (1996 King's College (University of London)). Dance & music in French baroque theatre: Sources & interpretations ; papers presented at Dance to honour kings : sources for court & theatrical entertainments, 1680-1740, King's College London, August 1996. Institute of Advanced Musical Studies, King's College London, 1998.

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9

1949-, Wetsel David, Canovas Frédéric 1965-, Probes Christine, and Norman Buford 1945-, eds. Les femmes au Grand Siècle: Le baroque, musique et littérature : musique et liturgie : actes du 33e Congrès annuel de la North American Society for Seventeenth-Century French Literature, Arizona State University (Tempe), May 2001. Gunter Narr Verlag, 2003.

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10

Huelle, August Emil. The success of the French Baroque lute. 2003.

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11

Guide de la musique sacrée et chorale profane: L'Age Baroque, 1650-1750. Fayard, 1992.

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12

R, Anthony James, ed. French Baroque masters: Lully, Charpentier, Lalande, Couperin, Rameau. Macmillan, 1986.

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13

Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau: Revised and Expanded Edition. Amadeus Press, 2003.

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14

Cyr, Mary. Style and Performance for Bowed String Instruments in French Baroque Music. Taylor & Francis Group, 2016.

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15

Music Minus One French Horn: Baroque Brass and Beyond: Brass Quintets (Sheet Music & CD). Music Minus One, 1997.

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16

Cyr, Mary. Style and Performance for Bowed String Instruments in French Baroque Music. Routledge, 2016. http://dx.doi.org/10.4324/9781315611174.

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17

(Editor), James Anthony, ed. The New Grove French Baroque Masters: Lully, Charpentier, Lalande, Couperin, Rameau (The New Grove Series). W W Norton & Co Inc, 1997.

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18

Coquettes, Wives, and Widows - Gender Politics in French Baroque Opera and Theater. Boydell & Brewer, Limited, 2020.

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19

R, Anthony James, ed. The New Grove French baroque masters: Lully, Charpentier, Laland, Couperin, Rameau. Macmillan, 1986.

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20

R, Anthony James, ed. The New Grove French Baroque masters: Lully, Charpentier, Lalande, Couperin, Rameau. Norton, 1986.

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21

Vasily Titov and the Russian Baroque: Selected Sacred Choral Works: (Monuments of Russian Sacred Music, Series XIII, Vol. 1). Musica Russica, Incorporated, 1995.

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22

Heyer, John Hadju. Jean Baptiste Lully French Baroque: Essays in Honor of James R. Anthony. Cambridge University Press, 2008.

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23

Essays on the Performance of Baroque Music: Opera and Chamber Music in France and England (Variorum Collected Studies). Ashgate Pub Co, 2008.

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24

R, Anthony James, and Heyer John Hajdu, eds. Jean-Baptiste Lully and the music of the French Baroque: Essays in honor of James R. Anthony. Cambridge University Press, 1989.

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25

Hitchcock, H. Wiley, Graham Sadler, and James R. Anthony. The New Grove French Baroque masters: Lully, Charpentier, Lalande, Couperin, Rameau (The Composer biography series). Norton, 1986.

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26

The Harmonic Orator: The Phrasing and Rhetoric of the Melody in French Baroque Airs (Pendragon Press Musicological Series). Pendragon, 2001.

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27

Heyer, John Hajdu. Jean-Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony. Cambridge University Press, 1989.

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28

Hajdu, Heyer John, and Anthony James R, eds. Jean-Baptiste Lully and the music of the French baroque: Essays in honour of James R. Anthony. Cambridge University Press, 1989.

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29

North American Society for Seventeenth-C. Les Femmes Au Grand Siecle: Le Baroque, Musique Et Litterature: Musique Et Liturgie: Actes Du 33e Congres Annuel de La North American Society for (Biblio 17,). Gunter Narr Verlag, 2003.

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30

Nichols, Roger. Poulenc. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.001.0001.

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Francis Poulenc is a key figure in twentieth-century classical music, as well as an unorthodox and striking individual. This book draws upon Poulenc's music and other primary sources to write an authoritative life of this great artist. Although associated with five other French composers in what came to be called “Les Six,” Poulenc was very much sui generis in personality and in his music, where he excelled over a wide repertoire-opera, songs, ballet scores, chamber works, piano pieces, sacred and secular choral works, orchestral works and concertos. This book fully covers this wide range, whi

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31

Zur Nieden, Gesa. Symmetries in Spaces, Symmetries in Listening. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.16.

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Based on the importance of the concept of symmetry in French sociological aesthetics circa 1900, this chapter analyzes the convergence of theaters, musical form, and musical understanding. The analysis focuses on architectural shape, audience response, and the musical repertoire in the new theaters built in Barcelona (1847), Paris (1862), and Rome (1880). While these theaters were fashioned after the baroque form of the “teatro all’italiana” that prevailed in Italy, France, and Spain during the late nineteenth century, they provided huge spaces accommodating a socially mixed audience within an

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