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Books on the topic 'Giovanni Gabrieli'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Giovanni Gabrieli. L'epos, 2012.

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2

Canguilhem, Philippe. Andrea et Giovanni Gabrieli. Fayard, 2003.

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3

Eichhorn, Holger. Giovanni Gabrieli: Quantus vir. Edition Text + Kritik, 1999.

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4

Giovanni Gabrieli and his contemporaries: Music, sources and collections. Ashgate/Variorum, 2011.

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5

Giovanni Gabrieli and the music of the Venetian High Renaissance. Oxford University Press, 1986.

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6

Buono, Michela. Giovanni Gabrieli compositore ed organista e la musica veneziana del Rinascimento. UNI service, 2009.

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7

Giovanni Gabrieli compositore ed organista e la musica veneziana del Rinascimento. UNI service, 2009.

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8

Gabrieli tedesco: Rezeption und Überlieferung des Spätwerks von Giovanni Gabrieli in deutschen Quellen des 17. Jahrhunderts ; mit einem Notenanhang teils erstmalig veröffentlichter Gabrieli-Werke. Kamprad, 2006.

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9

Charteris, Richard. Giovanni Gabrieli (ca. 1555-1612): A thematic catalogue of his music with a guide to the source materials and translations of his vocal texts. Pendragon Press, 1996.

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10

Giovanni Gabrieli (ca. 1555-1612): A thematic catalogue of his music with a guide to the source materials and translations of his vocal texts. Pendragon Press, 1996.

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11

Blessed are the meek: A Gabriella Giovanni mystery. Witness Impulse, an imprint of HarperCollins Publishers, 2014.

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12

Arnold, Denis. Giovanni Gabrielli and the music of the Venetian high Renaissance. Oxford University Press, 1986.

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13

Garobbio, Aurelio. Gabriele D'Annunzio e i "giovani ticinesi": Le vicende de "L'Adula" nei ricordi d'un redattore. Centro di studi atesini, 1989.

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14

Vedute di Villa D'Este nel Seicento attraverso le antiche incisioni di Gio. Francesco Venturini, Giovanni Maggi, Israël Silvestre, Gabriel Perelle, Stefano Dupérac, Mario Cartaro, Francesco Corduba, Dominique Barrière e la veduta topografica di Tivoli di Daniel Stoopendal =: Views of Villa D'Este in the XVII century from old engravings by Gio. Francesco Venturini, Giovanni Maggi, Israël Silvestre, Gabriel Perelle, Stefano Dupérac, Mario Cartaro, Francesco Corduba, Dominique Barrière and a topographical view of Tivoli by Daniel Stoopendal. Palombi, 2005.

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15

Lombardo, Alberto. Vedute di Villa D'Este nel Seicento attraverso le antiche incisioni di Gio. Francesco Venturini, Giovanni Maggi, Israël Silvestre, Gabriel Perelle, Stefano Dupérac, Mario Cartaro, Francesco Corduba, Dominique Barriére e la veduta topografica di Tivoli di Daniel Stoopendal =: Views of .. Palombi, 2005.

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16

Charteris, Richard. Giovanni Gabrieli: Motets In Manuscript Sources And Printed Anthologies I. Amer Inst of Musicology, 2003.

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17

Arnold, Denis. Giovanni Gabrieli and the Music of the Venetian High Renaissance. Oxford University Press, USA, 1985.

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18

Flower, John Arnold. Giovanni Gabrieli's Sacrae symphoniae (1597). 1985.

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19

Walker, Paul. Fugue in the Sixteenth Century. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190056193.001.0001.

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This book explores the roots of the classic fugue and the early history of non-canonic fugal writing through the three principal fugal genres of the sixteenth century: motet, ricercar, and canzona. The book begins with the pivot in Western composition from an emphasis on variety to one on repetition, first developed by such Franco-Flemish composers as Loyset Compère and Josquin des Prez toward the end of the fifteenth century. By around 1520 Jean Mouton and his contemporaries had established the classic Franco-Flemish motet with its well-known point-of-imitation structure. Nicolas Gombert prov

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20

Giovanni Pascoli, Gabriele D'Annunzio, and the Ethics of Desire: Between Action and Contemplation. Fairleigh Dickinson University Press, 2017.

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21

Gagliano, Marco da. Madrigals, Part 4. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b221.

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Il quarto libro de madrigali a cinque voci, the fourth of six books of madrigals by the Florentine composer Marco da Gagliano, was published in 1606. The book is distinguished by the excellence of its music as well as by its varied settings of texts by some of the most celebrated poets of the day. Five of the madrigals use texts by Giovanni Battista Guarini, three by Giambattista Marino, one each by Gabriello Chiabrera, Cosimo Galletti, and Alsaldo Cebà, and a final two-part madrigal for six voices sets a sonnet by the great fourteenth-century poet Francesco Petrarca. In addition to fourteen m

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22

Gagliano, Marco da. Madrigals, Part 6. Edited by Edmond Strainchamps. A-R Editions, 2021. http://dx.doi.org/10.31022/b223.

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Il sesto libro de madrigali a cinque voci, Marco da Gagliano's final book in the genre, was published in 1617, nine years after its predecessor. In the book's dedication Gagliano indicated that its music was composed the year before, and not earlier in the gap between the two books. Book 6 was popular enough that it was reprinted in 1620, and although he lived another twenty-six years, Gagliano published no more madrigals. There are sixteen compositions in the book, fourteen of them by Gagliano, one by Lodovico Arrighetti, and one by an unnamed composer who was most certainly Ferdinando Gonzag

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23

Felice, Ass Culturale L'Arca, and Giuseppe Vetromile, eds. PERCEZIONI DELL’INVISIBILE: A cura di Giuseppe Vetromile impreziosito con fotografie di Gabriella Maleti con una litografia fuori testo Testi poetici di Lucianna Argentino, Pasquale Balestriere, Floriana Coppola, Giovanna Iorio, Ketti Martino, Cinzia Marulli Ramadori, Marco Righetti. Edizioni L'Arca Felice, 2012.

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