Relevant bibliographies by topics / Guitar music – 17th century

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Guitar music – 17th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Guitar music – 17th century"

1

Macaulay, Anne, and John M. Ward. "Sprightly and Cheerful Musick: Notes on the Cittern, Gittern and Guitar in 17th-Century England." Galpin Society Journal 45 (March 1992): 163. http://dx.doi.org/10.2307/842288.

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Criswick, Mary. "19th-Century Guitar." Musical Times 127, no. 1722 (1986): 502. http://dx.doi.org/10.2307/964602.

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Criswick, Mary. "20th-Century Guitar." Musical Times 127, no. 1726 (1986): 695. http://dx.doi.org/10.2307/964679.

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Criswick, Mary. "20th-Century Guitar." Musical Times 128, no. 1734 (1987): 442. http://dx.doi.org/10.2307/965019.

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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.

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

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

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

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

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

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Dissertations / Theses on the topic "Guitar music – 17th century"

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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.

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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 the mastery and understanding of notation. After an introduction, the second chapter discusses three main tablatures for the lute and vihuela. It is important to confine oneself to the tablatures, in order that they be throughly understood. Thusthe third chapter deals with ornamentations, the fourth chapter with four-course, five course, six-course and six-string guitar notations, and the fifth chapter encompasses progressive notationfor the modern guitar. Systems for folk and commercial music are not addressed in this paper.The author hopes that with the use of this dissertation, tablatures can be handled with less difficulty and put into proper perspective. Careful thought has been given in selecting representative examples and notational literature excerpts as illustrations for the reader and/or performer. These examples need not only be studied but can be used as preparation for any other related composition. The purpose of this study is to supply teachers, students, and guitarists with a ready-reference guide to the notational practices for the lute, vihuela and guitar, a subject previously shrouded in confusion.<br>School of Music
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Corcoran, Kathleen Anne 1959. "The guitar anthology of Henry Francois de Gallot (1661): A preliminary study." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291728.

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The manuscript entitled "Pieces de Guitarre de differende Autheure recuellis par Henry Francois de Gallot" (GB:Ob Ms. Mus. Sch. C94) is one of the largest single collections of music for the Baroque guitar. The source contains over 600 pieces by various composers, including Gallot and Corbetta. An overview of the physical characteristics, organization, and stylistic features of this important source is intended to provide a basis for further study and concordance search.
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Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, <i>voix de ville</i>, dialogue, and <i>air de cour</i>. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the <i>Académie de Poésie et de Musique</i>), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the <i>ballet de cour</i>, to dance forms, and to solo instrumental styles such as <i>stile brisé</i> are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the <i>air de cour</i> commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the <i>voix de ville</i> to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.

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Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.

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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation.<br>https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg
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Dean, Alexander. "The five-course guitar and seventeenth-century harmony : Alfabeto and Italian song /." Digitized version, 2009. http://hdl.handle.net/1802/1098.

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Thesis (Ph. D.)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978
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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.

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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.

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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 baroque opera; characteristic dramatic use of chorus in baroque opera; or, the suitability of a chorus for use as concert repertoire. Musical examples are drawn from a twenty-five year period in the late seventeenth century, 1667-1692, as represented in Italy by Alessandro Scarlatti, Antonio Sartorio, and Antonio Cesti; in France by Jean-Baptiste Lully; and in England by Henry Purcell. The results of this study indicate that there are numerous choruses appropriate for concert performance to be found in the English baroque opera repertoire, the semi-operas of Henry Purcell in particular; there are some suitable examples to be found in French baroque operas, although frequently choruses by Lully are harmonically simpler than those by Purcell; and, there are choruses available for extraction from early Italian operas such as those by Monteverdi, but very few to be found in late seventeenth century Italian operas. The document concludes with an appendix of selected baroque opera choruses considered appropriate for concert performance. The appendix includes only those choruses considered to be harmonically, melodically, and textually autonomous, and of sufficient length to be free-standing. Selections chosen for the appendix are drawn from a wider range of composers and a broader time span than those discussed in the body of the paper. Information contained in the appendix includes composer, opera title, date, act and scene, chorus title, voicing, source, and editorial remarks.
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Melvin, Michael John. "Tonal harmonic syntax and guitar performance idiom in two mid-seventeenth-century Italian guitar books by Angelo Michele Bartolotti (c. 1615--after 1682)." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/278814.

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Since the 1960s the publications of American musicologist Richard Hudson, along with recent articles by other scholars, have shown the five-course Spanish guitar to have been at the forefront of harmonic innovation in the early seventeenth century. Existing publications in this area, however, deal exclusively with guitar music in the rudimentary battuto strumming style and do not address the development of harmonic language in guitar music after circa 1630. From circa 1630 the battuto style gave way to a new guitar idiom that combined both strumming and plucking, thus affording guitarists the opportunity to incorporate more sophisticated harmonic devices into their music. This thesis endeavors to furnish a preliminary case study on the development of harmonic language in guitar music after circa 1630 by tracing the evolution of a tonal harmonic syntax in minor-mode Allemandes from two mid-seventeenth-century guitar books by Bolognese guitarist Angelo Michele Bartolotti (c. 1615--after 1682).
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Lazo, Alejandro. "Contemporary Mexican Classical Guitar Music at the Turn of the Twenty-First Century: Selected Compositions 1988-2003." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193775.

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The purpose of this dissertation is to discover if Arturo Fuentes’ Primer Interludio incorporates a number of stylistic features typical of guitar music written by Mexican contemporaries from 1988 to 2003. These features include the use of complex musical notation, highly disjunct melodic contour, extended techniques, innovative timbres, rhythmic complexity, rapidly changing dynamics, atonality, percussive effects and repetitive rhythmic and/or melodic cells. As a point of departure a list of guitar works by representative Mexican composers was compiled. From this list the following works were chosen since they exemplify the stylistic trends I wish to highlight: Tres Instantáneas (1988) by Manuel Enríquez, Sonata (1992) and Elegía 2 (2000) by Hebert Vázquez, Haikus (2000) by Ana Lara, Sydolira (2000) by Gabriela Ortíz, and Impello (2003) by Francisco Javier González Compeán. By comparative analysis, I have associated certain stylistic features between these contemporary Mexican composers. I have been able to get a glimpse of some of the underlying stylistic unities found in these guitar compositions that seem rather separate. There are a number of stylistic features common to all of the composers discussed herein as well as few characteristics where only some of them converge. However, this research shows that Arturo Fuentes’ Primer Interludio is representative of several stylistic features commonly found in guitar music written by contemporary Mexican composers. There is a vast variety of Mexican guitar works created in recent years that remain unknown to today’s classical music world, academic community and general public. Mexico possesses a large repertoire of guitar works, music for solo guitar and guitar with a wide array of ensemble combinations from duets to large ensembles and guitar concertos. Many of these works would undoubtedly challenge a performer of the highest caliber. One of the purposes of this project is to promote contemporary Mexican classical guitar music. I hope to awake interest in this contemporary music style and encourage other musicians to include Mexican works in their concert repertoire.
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Books on the topic "Guitar music – 17th century"

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

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

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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.

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

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

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

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

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

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The guitar in Venezuela: A concise history to the end of the 20th century. Doberman-Yppan, 2005.

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

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Book chapters on the topic "Guitar music – 17th century"

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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.

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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.

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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.

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"The Spanish Baroque Guitar And Seventeenth-Century Triadic Theory." In The Work of Music Theory, edited by Thomas Christensen. Routledge, 2017. http://dx.doi.org/10.4324/9781315084879-5.

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Pasande, A. C., and K. S. Astuti. "Correlation between musical imagery and guitar improvisability in Soroako’s music community." In 21st Century Innovation in Music Education. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-71.

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Suprayogi, A., and K. S. Astuti. "Effect of a backing track on improvement of students’ electric guitar playing skills." In 21st Century Innovation in Music Education. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-31.

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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.

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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.

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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.
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Berg, Christopher. "Scale Exercises and Studies." In The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0003.

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This section will improve students’ understanding of scale technique by exploring the fingering practices of major 19th-century guitarists—Carulli, Carcassi, Sor, Aguado, Coste, Mertz—including how these practices evolved and their significance when performing music by these composers. Then follow a series of scale pieces in the lower positions suitable for students in their first years of study, followed by scale studies in the upper positions suitable for more advanced students. Pieces from the literature for lute are included to provide music containing scales that is accessible to those starting out. This is followed by advanced upper-position material. The section ends with an exploration of how to develop advanced right-hand fingering practices through the use of three-finger patterns to aid the develop of speed and to solve the problems of fingering nonidiomatic music, such as the more difficult works of J. S. Bach.
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Berg, Christopher. "Counterpoint." In The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0009.

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The technique required to perform counterpoint convincingly on the guitar is not idiomatic to the instrument. Left-hand fingers must be able to sustain one note while other fingers move to form other notes. In order to take advantage of the instrument’s contrapuntal capabilities, guitarists need to design meticulous fingerings that are connected to musical intent for both hands. This chapter first looks at two-voice pieces by Enriquez de Valderrabano, Mauro Giuliani, Marco Aurelio Zani de Ferranti, and Dionisio Aguado and then proceeds to explore pieces by Fernando Sor that make use of freistimmigkeit textures. The chapter concludes with a recercar by Giovanni Maria da Crema and four fantasias by Francesco da Milano, the latter being some of the finest sixteenth-century lute music. Music in this chapter requires increasingly developed left-hand finger independence.
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Conference papers on the topic "Guitar music – 17th century"

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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.

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Hortencia Lopes Garcia, Denise, and Ricardo Henrique SerrÃo. "PEDAGOGICAL MUSIC IN XXI CENTURY: COMPOSITION OF AN GUITAR EDUCATIONAL STUDIES SERIES FROM WORKS BY EDINO KRIEGER." In XXIII Congresso de Iniciação Científica da Unicamp. Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-38167.

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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.

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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.

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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.

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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 century which is still part of the repertoire today, we explore possibilities of evaluating güfte mecmūʿaları as source material for the historiography of Ottoman art music.
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