Relevant bibliographies by topics / Heinichen, Johann David

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

Academic literature on the topic 'Heinichen, Johann David'

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

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Journal articles on the topic "Heinichen, Johann David"

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Owens, Samantha. "Johann David Heinichen, Selected Music for Vespers." Musicology Australia 36, no. 2 (July 3, 2014): 305–8. http://dx.doi.org/10.1080/08145857.2014.968970.

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REMEŠ, DEREK. "FOUR STEPS TOWARDS PARNASSUS: JOHANN DAVID HEINICHEN'S METHOD OF KEYBOARD IMPROVISATION AS A MODEL OF BAROQUE COMPOSITIONAL PEDAGOGY." Eighteenth Century Music 16, no. 2 (August 20, 2019): 133–54. http://dx.doi.org/10.1017/s1478570619000149.

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AbstractJohann David Heinichen's treatise Der General-Bass in der Composition (Dresden, 1728) is the most comprehensive study of thoroughbass ever written, yet it has been continually overshadowed in historical accounts by works published in the same decade by Jean-Philippe Rameau (Traité de l'Harmonie) and J. J. Fux (Gradus ad Parnassum). Despite Heinichen's nuanced treatment of a wide variety of musical subjects, Der General-Bass has yet to receive wide acclaim, in large part because it lacks a reductive pedagogical framework that can rival Rameau's basse fondamentale or Fux's species in simplicity and immediate appeal. Yet fortunately, the ‘partimento renaissance’ of the last decade has brought renewed scholarly attention to the centrality of thoroughbass is the only acceptable break in eighteenth-century music-making. Thus the time is ripe for a reappraisal of Heinichen's monumental work. On at least one occasion, Heinichen does indeed outline a pedagogical method of eminent simplicity: his four-step instruction in how to improvise a prelude at the keyboard. According to Heinichen, this method, which seems to be completely unknown today, is to be understood not only as instruction in improvising, but also as training for beginning composers. In explicating the pedagogy of one of eighteenth-century Europe's leading composer-theorists, this article contributes to both the historically informed analysis and the practical teaching of baroque music today.
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Wollny, Peter, and Melvin P. Unger. "The German Choral Church Compositions of Johann David Heinichen (1683-1729)." Notes 49, no. 3 (March 1993): 982. http://dx.doi.org/10.2307/898938.

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Talbot, Michael. "Johann David Heinichen La gara degli Dei; Diana su l'Elba. Michael Walter." Music and Letters 83, no. 1 (February 1, 2002): 173–75. http://dx.doi.org/10.1093/ml/83.1.173.

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Russom, Philip Wade. ""Thorough-Bass Accompaniment according to Johann David Heinichen." Rev. ed. by George Buelow." Performance Practice Review 4, no. 1 (1991): 85–88. http://dx.doi.org/10.5642/perfpr.199104.01.10.

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6

Mangsen, Sandra. "George J. Buelow. Thorough-Bass Accompaniment according to Johann David Heinichen. Revised edition. Lincoln, Neb., and London: University of Nebraska Press, 1992. xvii, 462 pp. ISBN 0-8032-6106-3 (pa)." Canadian University Music Review, no. 14 (1994): 210. http://dx.doi.org/10.7202/1014319ar.

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7

FRAMPTON, ANDREW. "CHRISTOPH GRAUPNER (1683–1760), JOHANN DAVID HEINICHEN (1683–1729), GEORG PHILIPP TELEMANN (1681–1767) ICH HEBE MEINE AUGEN AUF: TELEMANN, HEINICHEN & GRAUPNER IN LEIPZIG Veronika Winter (soprano) / Alex Potter (countertenor) / Hans Jörg Mammel (tenor) / Markus Flaig (bass) / L'arpa festante / Rien Voskullen (director) Carus 83.337, 2015: one disc, 78 minutes." Eighteenth Century Music 13, no. 2 (August 16, 2016): 326–28. http://dx.doi.org/10.1017/s1478570616000166.

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8

Schulenberg, D. "Johann David Heinichen's Grundliche Anweisung (1711): Comprehensive Instruction on Basso Continuo, with Historical Biographies. Translated by Benedikt Brilmayer and Casey Mongoven." Music and Letters 95, no. 2 (May 1, 2014): 278–80. http://dx.doi.org/10.1093/ml/gcu020.

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Dissertations / Theses on the topic "Heinichen, Johann David"

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Lorber, Richard. "Die Italienischen Kantaten von Johann David Heinichen : 1683-1729 : ein Beitrag zur Geschichte der Musik am Dresdner Hof in der ersten Hälfte des 18. Jahrhunderts /." Regensburg : G. Bosse, 1991. http://catalogue.bnf.fr/ark:/12148/cb369557645.

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Herzog, Susanne. "Protestantische Traditionen in der katholischen Kirchenmusik des Dresdner Hofes: Johann David Heinichens Werk ‘Nicht das Band, das dich bestricket’ für die Karwochenfeierlichkeiten 1724." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36716.

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Heinichen, Johann David. "Magnificat Nr. 2 B-Dur: Für Sopran, Alt, Tenor, Baß, Chor, 2 Oboen, Streicher und Basso continuo, 1723: Partitur." Ries & Erler, 2019. https://slub.qucosa.de/id/qucosa%3A35848.

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Johann David Heinichen, 1683 in Krössuln bei Weißenfels geboren, studierte nach seiner Thomanerzeit in Leipzig, die ihn mit den führenden Musikern dieser Stadt bekannt machte, zunächst Jura und arbeitete ab 1705 in Weißenfels als Advokat. Seit 1709 wandte er sich in Leipzig ganz der Musik zu, leitete ein Collegium musicum und schrieb erste italienische Opern. Daraufhin berief ihn Herzog Moritz Wilhelm als Compositeur nach Zeitz. Der herzogliche Rat Buchta verschaffte Heinichen die Möglichkeit einer Reise nach Italien, die er gern annahm. Er begab sich 1710 nach Venedig, reiste weiter nach Rom und Florenz (hier war er kurze Zeit Reisebegleiter des Fürsten Leopold von Anhalt-Köthen) und blieb von 1713 an in Venedig. Mit Gottfried Heinrich Stölzel verkehrte er in den ersten musikalischen Instituten Venedigs, den Konservatorien, bei Antonio Vivaldi, Antonio Bifi, Angelo Gasparini und Francesco Pollarolo. Das gastfreie Haus des Kaufmanns Bianchi war ein Mittelpunkt der geselligen Musik in Venedig. Für die Hausherrin, die Cembalistin und Sängerin Angioletta Bianchi, schrieb Heinichen einen Teil seiner Kammerkantaten (siehe Denkmäler der Tonkunst Nr. 11 Kantate „La Bella iamma“), die auch der in Venedig weilende Kurprinz Friedrich August von Sachsen mit Begeisterung hörte. Diese Kantaten gaben offenbar den Ausschlag, dass der Kurprinz, nachdem er die Genehmigung hierfür bei seinem Vater Friedrich August I. (August der Starke) aus Dresden eingeholt hatte, Heinichen als sächsischen Hofkapellmeister ab dem 1. August 1716 verpflichtete.[... aus der Einleitung]
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Books on the topic "Heinichen, Johann David"

1

Buelow, George J. Thorough-bass accompaniment accordingto Johann David Heinichen. Ann Arbor, Mich: UMI Research Press, 1986.

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2

1683-1729, Heinichen Johann David, ed. Thorough-bass accompaniment according to Johann David Heinichen. Ann Arbor, Mich: UMI Research Press, 1986.

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1683-1729, Heinichen Johann David, ed. Thorough-bass accompaniment according to Johann David Heinichen. Nebraska: University of Nebraska Press, 1992.

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4

The German choral church compositions of Johann David Heinichen, 1683-1729. New York: P. Lang, 1990.

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5

Fechner, Manfred. Studien zur Dresdner Überlieferung von Instrumentalkonzerten deutscher Komponisten des 18. Jahrhunderts: Die Dresdner Konzert-Manuskripte von Georg Philipp Telemann, Johann David Heinichen, Johann Georg Pisendel, Johann Friedrich Fasch, Gottfried Heinrich Stölzel, Johann Joachim Quantz und Johann Gottlieb Graun : Untersuchungen an den Quellen und thematischer Katalog. Laaber: Laaber, 1999.

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6

Lorber, Richard. Die italienischen Kantaten von Johann David Heinichen (1683-1729): Ein Beitrag zur Geschichte der Musik am Dresdner Hof in der ersten Hälfte des 18. Jahrhunderts. Regensburg: G. Bosse, 1991.

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7

Heinichen, Johann David. Johann David Heinichen's Gründliche Anweisung (1711): Comprehensive instruction on basso continuo with historical biographies. Hillsdale, NY: Pendragon Press, 2012.

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Mirka, Danuta. Introduction. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.002.

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Critical reception of topic theory over the last decades has been adversely affected by the conviction that the concept of topics has no basis in eighteenth-century music theory, aesthetics, and criticism. Furthermore, the study of musical topics has been confounded by discrepancies between representatives of topic theory, who expanded this concept beyond cross-references between styles and genres. Drawing on a wide range of eighteenth-century sources, this introduction clears away the discrepancies, clarifies the concept of topics, and relates it to Johann Georg Sulzer’s concept of characters. The relation between Ratner’s topics and Sulzer’s characters bears on the scope and semiotic status of topical signification, which is here reconsidered in light of eighteenth-century semiotics. In turn, the origins of Sulzer’s characters in the Baroque theory of affects explain the relation between musical topics and rhetoricalloci topici, discussed by Johann David Heinichen and Johann Mattheson as tools of musical invention.
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Book chapters on the topic "Heinichen, Johann David"

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Fanselau, Clemens. "Heinichen, Johann David." In Komponisten Lexikon, 260–61. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_135.

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Herzog, Susanne. "Johann David Heinichen." In Barockmusikführer, 221–24. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_52.

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3

"Johann David Heinichen und der »Musicalische Horribilicribrifax«Überlegungen zur Vorrede von Heinichens Gründlicher Anweisung." In Frühe Neuzeit, edited by Rainer Bayreuther. Berlin, New York: DE GRUYTER, 2010. http://dx.doi.org/10.1515/9783110233452.145.

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