Relevant bibliographies by topics / Harpsichord music Music

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

Academic literature on the topic 'Harpsichord music Music'

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

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Journal articles on the topic "Harpsichord music Music"

1

Brokaw, James A., Giovanni Battista Draghi, Robert Klakowich, Vicente Rodriguez, and Almonte Howell. "Harpsichord Music." Notes 44, no. 4 (June 1988): 809. http://dx.doi.org/10.2307/941043.

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Chung, David. "French harpsichord music." Early Music 33, no. 4 (November 1, 2005): 728–29. http://dx.doi.org/10.1093/em/cah185.

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Johnson, Edmond. "The Death and Second Life of the Harpsichord." Journal of Musicology 30, no. 2 (2013): 180–214. http://dx.doi.org/10.1525/jm.2013.30.2.180.

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Though far from being the only historical instrument to receive renewed attention during the decades surrounding the turn of the twentieth century, the harpsichord holds a special place in the history of the early music revival. No other instrument played as visible—or, perhaps, as controversial—a role in popularizing musical activities during the revival. As a large and visually distinctive presence, the harpsichord has a tendency to garner attention wherever it appears, whether in a museum case or on the concert hall stage. In this article I explore the harpsichord’s nineteenth-century “death” and its subsequent revival—the two periods of its history that have been most neglected. By reexamining the ways in which the harpsichord was portrayed in both words and images, I show that the instrument’s eventual acceptance in the twentieth century was far from being a fait accompli but depended largely on an extensive and deliberate renegotiation of both its image and its cultural identity. In the first half of the article I explore the harpsichord’s nineteenth-century existence as an evocative emblem of a vanished past: an instrument turned relic that was frequently laden with supernatural literary tropes and ghostly imagery. In the second section I examine the instrument’s revival, focusing on the ways in which the harpsichord was brought before modern audiences, ultimately in a form that was heavily reengineered and reconfigured. Indeed, in its journey from museum piece to modern musical instrument the harpsichord underwent a marked transformation of both form and character. The process involved a gradual rejection of much of the cultural baggage the harpsichord had accrued during its long dormancy in the nineteenth century and resulted in a transformation that ultimately won it a place in the modern musical world.
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Bailey, Candace Lea. "Complete Keyboard Music, and: Complete Harpsichord Music (review)." Notes 58, no. 4 (2002): 926–29. http://dx.doi.org/10.1353/not.2002.0057.

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Gajecka-Antosiewicz, Aleksandra. "Polish harpsichord music in the period of 1936–2016." Notes Muzyczny 1, no. 11 (June 28, 2019): 65–85. http://dx.doi.org/10.5604/01.3001.0013.3522.

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The article touches on Polish harpsichord pieces written between 1936 and 2016, dividing this time into three periods. The first of them is connected with the renaissance of harpsichord music, the second one focuses on the activity of Elżbieta Chojnacka and avant-garde works expanding the harpsichord playing technique, whereas for the third period the article presents compositions written for modern and historical harpsichord featuring the new media, as well as for other early instruments. An addition to the article are two annexes containing a list of academic publications on the discussed topic discussed, and a catalogue of CDs entirely devoted to harpsichord pieces written by contemporary Polish composers, which were released by Polish recording companies.
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Wauters, Christine, Mark Delaere, and Jef Lysens. "Karel Goeyvaerts'Litanie Vfor harpsichord and tape or several harpsichords." Contemporary Music Review 19, no. 4 (January 2000): 115–27. http://dx.doi.org/10.1080/07494460000640471.

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Schott, Howard. "Harpsichord." Musical Times 126, no. 1711 (September 1985): 540. http://dx.doi.org/10.2307/964469.

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Schott, Howard. "Harpsichord." Musical Times 128, no. 1727 (January 1987): 31. http://dx.doi.org/10.2307/964641.

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Schott, Howard. "Harpsichord." Musical Times 128, no. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965017.

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Bedford, Frances, and Martin Elste. "Modern Harpsichord Music: A Discography." Notes 52, no. 4 (June 1996): 1185. http://dx.doi.org/10.2307/898406.

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Dissertations / Theses on the topic "Harpsichord music Music"

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Camara, Queiroz de Souza Luciana. "Music and subjectivity in seventeenth-century free-style harpsichord music." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3328/.

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The present study explores the relationship between the seventeenth-century free-style repertoire for the harpsichord and the concept of subjectivity in early modern Europe. It involved considerations about the socio-historical role of music, the philosophic discussions on subjectivity, and cultural issues of the period. The reflection about the content of the works and the possible connection points between this music and subjectivity was centred on the concept of time in its musical, philosophic and cultural dimension. For the investigation of the textual and performative aspects of the musical discourse a phenomenological approach is chosen. Free-style music both articulates and sheds light on significant aspects of early modern subjectivity: the ambivalence between quantifiable and unquantifiable, the theatricality of self-expression, the subjective as object of representation, the balance between authority and subjugation, and the separation of the subject and his or her representation through perspective. It also calls attention to some facets of subjectivity that may be particularly musical: the intentionality of time flexibility, the subject’s conflict between fixity and transiency (instantiated in notated free-style music), and the shared nature of musical subjectivity (in connection with the understanding that the individual readings of the musical text may be seen as ‘appropriations’ of the composer’s playing style). Free-style music may be seen as both reflection and constitutive part of the subject’s move towards autonomy in the sense understood within modernity. It also expresses the vagueness and changeability of the seventeenth-century subject.
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Chung, David Yu-Sum. "Keyboard arrangements of Lully's music and their significance for French harpsichord music." Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/252310.

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Rabe, Hans-Henning. "Studien zur Rondoform in der französischen Clavecinmusik zwischen Spätbarock und Frühklassik." Göttingen : [s.n.], 1991. http://books.google.com/books?id=QglFAAAAMAAJ.

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Otomo, Ayako. "Art, music and the harpsichord in seventeenth- and eighteenth-century France /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18614.pdf.

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Xu, Zhixin. "La nuit bleue." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1553614122095522.

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Martin, Margot. "Essential agréments : art, dance and civility in seventeenth-century French harpsichord music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103563h.

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Frank, Robert J. 1961. "Stellar Quintet: A Suite for Two Violins, Viola, Violoncello, and Harpsichord." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500418/.

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Stellar Ouintet is a composition in five movements (Prologue, Allegro, "...Of Stars", Rondo, Epilogue) for two violins, viola, violoncello, and harpsichord. It makes extensive use of constellations , a term used in this work to denote arrangements of pitches in spatial notation. This method of notation is derived from actual astronomical constellations. The score makes use of both real and freely constructed constellations which are rotated around their own central axis. The score is 90 pages long with a 28 page analysis preceding the score. The work has a performance time of approximately 18-20 minutes
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Figg, Graham Elliot. "Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6113.

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Thesis (M.M.)--University of North Texas, 2008.
First work for harpsichord; 2nd work for baroque cello and harpsichord continuo; 3rd work for tenor and baroque ensemble (trumpet, cello, timpani, organ and harpsichord). System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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Wu, Siyu. "Harmonic and Rhythmic Transformation in Ligeti's Harpsichord Compositions: A Comparative Analysis of Continuum, Hungarian Rock and Passacaglia Ungherese." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1595470695585872.

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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.

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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 also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.
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Books on the topic "Harpsichord music Music"

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Harley, John. British harpsichord music. Aldershot, England: Scolar Press, 1992.

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Harley, John. British harpsichord music. Aldershot: Scolar, 1994.

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Modern harpsichord music: A discography. Westport, Conn: Greenwood Press, 1995.

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Mamlok, Ursula. Three bagatelles: Harpsichord (piano). New York: C.F. Peters, 1991.

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Lee, Finney Ross. Hexachord: For harpsichord. [United States]: Henmar Press, 1986.

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Chan, Ka Nin. Aliénor harpsichord book: A collection of contemporary pieces for harpsichord. Chapel Hill, N.C: Hinshaw, 1988.

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7

Moevs, Robert. Saraband for harpsichord. Bryn Mawr, Pa: T. Presser, 1987.

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Bazelon, Irwin. Vignette: For harpsichord (1975). Bryn Mawr, Pa: T. Presser, 1996.

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Albright, William. Four fancies: Harpsichord solo. New York: Henmar Press, 1991.

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Gambarini, Elisabetta De. Lessons for harpsichord. Edited by Asti Martha Secrest. Bryn Mawr, PA: Hildegard Pub. Co., 1995.

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Book chapters on the topic "Harpsichord music Music"

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Ledbetter, David. "The Relationship of Original Harpsichord Repertoire to Lute Style." In Harpsichord and Lute Music in 17th-Century France, 87–141. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-64014-0_3.

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Ledbetter, David. "Stringed Keyboard Instruments." In Harpsichord and Lute Music in 17th-Century France, 1–32. London: 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, 33–86. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-64014-0_2.

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Baumont, Olivier. "The harpsichord class at the Paris Conservatoire." In Perspectives on Early Keyboard Music and Revival in the Twentieth Century, 46–60. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Ashgate historical keyboard series: Routledge, 2017. http://dx.doi.org/10.4324/9781351254960-3.

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Gustafson, Bruce. "Four decades after French Harpsichord Music of the Seventeenth Century." In Perspectives on Early Keyboard Music and Revival in the Twentieth Century, 7–45. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Ashgate historical keyboard series: Routledge, 2017. http://dx.doi.org/10.4324/9781351254960-2.

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Koster, John. "The harpsichords of the virginalists." In Aspects of Early English Keyboard Music before c.1630, 29–48. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Ashgate historical keyboard series: Routledge, 2019. http://dx.doi.org/10.4324/9781315109701-3.

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Palmer, Larry. "Contemporary Harpsichord Music." In The Cambridge Companion to the Harpsichord, 324–46. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316659359.018.

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"Harpsichord Variations and Dances." In Heinrich Scheidemann’s Keyboard Music, 71–76. Routledge, 2017. http://dx.doi.org/10.4324/9781315093062-8.

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Johnstone, H. Diack. "Maurice Greene's Harpsichord Music: Sources and Style." In Music in Eighteenth-Century Britain, 261–81. Routledge, 2017. http://dx.doi.org/10.4324/9781315090870-11.

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Townsend, Peter. "Development of Fixed Frequency Keyboards." In The Evolution of Music through Culture and Science, 121–34. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0008.

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The role of science has been to structure a variety of ever more powerful keyboard instruments. The mechanics of their actions are sketched from clavichords to modern pianos. The benefits of more power become a problem when playing music written for quieter and softer sounding pianos, especially in trio or quartet music. This implies a definite market for electronic keyboards that have a variety of sounds from harpsichord or fortepiano to a powerful modern concert grand tone and power. Note that a modern grand can deliver roughly 1000 times more power than a fortepiano.
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Conference papers on the topic "Harpsichord music Music"

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Villegas, Julian, and Michael Cohen. "Synæsthetic Music or the Ultimate Ocular Harpsichord." In 7th IEEE International Conference on Computer and Information Technology (CIT 2007). IEEE, 2007. http://dx.doi.org/10.1109/cit.2007.149.

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