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Relevant bibliographies by topics / Late Baroque

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Academic literature on the topic 'Late Baroque'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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Journal articles on the topic "Late Baroque"

1

Cina, Landon. "Gesualdo's Late Madrigal Style: Renaissance or Baroque?" Musical Offerings 11, no. 2 (2020): 59–69. http://dx.doi.org/10.15385/jmo.2020.11.2.2.

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Barbieri, P. "Harpsichords and spinets in late Baroque Rome." Early Music 40, no. 1 (February 1, 2012): 55–72. http://dx.doi.org/10.1093/em/cas023.

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Pérez Santamaría, Aurora. "Catalan altarpieces of the late baroque. Some considerations." Locus Amoenus 5 (December 1, 2000): 217. http://dx.doi.org/10.5565/rev/locus.111.

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Mangsen, Sandra, and Tim Carter. "Music in Late Renaissance & Early Baroque Italy." Notes 50, no. 4 (June 1994): 1385. http://dx.doi.org/10.2307/898309.

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Szymański, Witold, and Maurycy Kin. "The perspective transformation in illusionistic ceiling painting of late Baroque." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 15, no. 1 (January 31, 2020): 104–12. http://dx.doi.org/10.35784/teka.899.

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The following work has shown the analyses carried out in order to clarify facts necessary to understand the phenomenon of the perspective representation in the works of art in Renaissanse and late Baroque. A lot of misunderstandings have arisen on the grounds of critical work made by many theoreticians and art historians. The aim of this work was to stipulate the reasons for the conceptual and methodological fallacies. Having evaluated the methods used by illusionistic ceiling painters of late Baroque, it was possible to conduct some geometric analyses of the paintings placed on the vault of the Leopoldine Hall at the University of Wrocław.

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Gendova, Marya Yu. "On the Reflection of the Baroque Style in the Russian Art of Ballet." ICONI, no. 3 (2021): 37–47. http://dx.doi.org/10.33779/2658-4824.2021.3.037-047.

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The article is devoted to the theme of the Baroque style on the Russian ballet scene of the end of the 19th century, and the focus of attention of this research steps over the bounds of the indicated time period, dwelling upon the reflection of Baroque subject matter on the 20th and early 21st century art of ballet. The author does not analyze the plotline basis of ballet performances and does not attempt to search for stylistic attributes of the Baroque period which would confirm the ballet’s pertaining to the Baroque era. The author determines as her main goal the aspiration to comprehend the fundamental — philosophical, value-based and spiritually significant — dominant ideas of human existence which are relevant beyond time and, hence, significant today, as well: the themes of personality, time, good and evil, stereotypes and algorithms (the theme of liberty), the theme of allusions. The author finds it important to comprehend how, conformably with the baroque worldview, they disclosed themselves in the late 19th century art of ballet (during the era of Marius Petitpas’ late productions, which was the flourishing of the Baroque style in ballet), exerting an impact on its plotline and architectonic structure. While preserving the retrospective-explorative vector of her research, the author poses the question, why do these specific concepts of the epoch’s worldview, as well as the constructive peculiarities of the baroque manner of ballet production has manifested itself in the art of 20th and 21st century ballet-masters George Balanchine and Alexei Miroshnichenko.

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Seferović, Relja. "Preachers, Sermons, and State Authorities in late Baroque Dubrovnik." Slovene 6, no. 2 (2017): 648–77. http://dx.doi.org/10.31168/2305-6754.2017.6.2.28.

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In order to keep its traditional neutrality in foreign policy and to preserve inner stability after the disastrous earthquake of 1667, the state authorities of the Republic of Dubrovnik controlled the entire public life in this city-state, which was clamped between Ottoman and Venetian possessions on the coast of the south Adriatic. They managed to impose their will on archbishops of the local Church in various aspects of religious life, including the election of public preachers in the city cathedral. Treated as simple officials in service of the government, these clerics (mostly members of various religious orders who came from Italy) played their role according to their employers’ desires, with only formal concern for their flock. However, sermons by their local counterparts, who preached mostly in smaller city churches, left a deeper mark in this highly conservative Catholic milieu. An analysis of their experiences and preserved texts of their sermons offers a new perception of the political, social, linguistic, and even theological culture of late Baroque Dubrovnik, a city whose importance remained incomparable within the Slavonic world in the Mediterranean.

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Bauer, Linda, and Nello Barbieri. "Forming a collection of paintings in Late Baroque Siena." Journal of the History of Collections 25, no. 1 (November 7, 2011): 45–57. http://dx.doi.org/10.1093/jhc/fhr027.

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Halton, Rosalind. "Aspects of the Secular Cantata in Late Baroque Italy." Musicology Australia 34, no. 1 (July 2012): 121–24. http://dx.doi.org/10.1080/08145857.2012.681758.

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Greene, Roland. "Baroque and Neobaroque: Making Thistory." PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 150–55. http://dx.doi.org/10.1632/pmla.2009.124.1.150.

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Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.

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Dissertations / Theses on the topic "Late Baroque"

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Neuman, Robert. "Robert De Cotte architect of the Late Baroque /." Ann Arbor (Mich.) : University microfilms international, 1988. http://catalogue.bnf.fr/ark:/12148/cb356061940.

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Parker, Mark M. (Mark Mason). "Transposition and the Transposed Modes in Late-Baroque France." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331880/.

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The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, its total pitch content was diminished, and consequently the number of the natural modes found within the gamme was reduced. An apparently less popular view narrowed the focus of "natural tone" to a single diatonic pitch, the final of the tone or mode. A number of factors contributed to the disappearance of the long-held distinction between natural and transposed tones: the linking of the notion of "transposed" with the temperament, the establishment of two types of signatures for the minor tones (for tones with sharps and flats, respectively), the transition from a two-column scale to a single-column one, and the recognition of a unified system of major and minor keys.

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Migliarisi, Anna. "Theories of directing in late Renaissance and early Baroque Italy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ27799.pdf.

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Volcansek, Frederick Wallace. "The Essercizii musici, a study of the late baroque sonata." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20011/volcansek%5Ffredercik%5Fjr/index.htm.

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Von, Holtzendorff Peter. "A parametric integration model for the analysis of late Baroque music : a tentative approach." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.

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In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.

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Von, Holtzendorff Peter B. "A parametric integration model for the analysis of late Baroque music, a tentative approach." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ43971.pdf.

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Clark, Antoine Terrell. "Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano: A Performance Edition with Commentary." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243869380.

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Destribois, Clemence Theodora. "Examining the Origins of the Late Baroque Monothematic Fugue:A Study of Seventeenth-Century Fugue in Italian Violin Music." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3350.

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Paul M. Walker points out the importance of three seventeenth-century manuscripts which, according to him, reflect the origins of the late Baroque monothematic fugue. The documents present a new "model" with specific criteria to write monothematic fugues. Walker suggests that the criteria presented in these manuscripts are first found in seventeenth-century Italian violin ensemble fugues. This thesis traces the development of seventeenth-century monothematic fugues and how they compare with the criteria presented in the manuscripts, with a particular emphasis on Italian violin ensemble fugues. The manuscripts indeed present a new "model" to write monothematic fugues as compared to earlier models. Generally speaking, the criteria included in the manuscripts are more present in monothematic fugues found in seventeenth-century violin ensemble music than in keyboard music of the same period. However, many of these imitative pieces present characteristics of fugato (rather than "true" fugues) and cannot be compared with the manuscripts' criteria. Therefore, the documents are important from a theoretical standpoint but their practical application in seventeenth-century violin music is not as clear or systematic as Walker implies.

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Pyle, Sarah. "Interdisciplinary Approaches to Musical Portraiture of the Late Renaissance and Early Baroque: Reading Musical Portraits as Gendered Dialogues." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18742.

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Sixteenth- and seventeenth-century portraits from the Italian peninsula that depict women with keyboard instruments have been discussed as an apparent trend by feminist art historians and musicologists. While the connection between these portraits and the well-known iconography of the musical St. Cecilia has been noted, the association between keyboard instruments and the female body has been less frequently explored. In this study, I use methodologies from feminist theory and gender studies, most notably gender performativity, in order to explore how an artist's dialogue between the portrait subject and her instrument creates and is created by complex relationships ingrained by the dominant patriarchal structures that circumscribed women's lives at the time. To realize these interpretive goals, I have chosen two paintings that are less often discussed in art historical and musicological literature: the self-portrait attributed to Marietta Robusti, and St. Cecilia Playing the Keyboard in the style of Artemisia Gentileschi.

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Kennedy, John R. "En el nombre de Dios: baroque piety, local religion, and the last will and testament in late colonial Monterrey." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5533.

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My dissertation is about forms of locally-based piety, especially religious devotion within the population of eighteenth-century Spanish descendants in Monterrey, Mexico. This study takes the reader through the structure of the colonial last will and testament, identifying its principle parts, analyzing its formulaic language, and discerning ways to hear the voice of its testator. Reineros, or colonial residents of Monterrey, entrusted scribes to write their wills in order to care for their souls in the afterlife and bequeath their possessions to family members, friends, and the church. Testators demonstrate their piety by issuing directives concerning their burials and funerals and making pious bequests to benefit church adornment, chapels, charities, and devotions to images. I identify trends in piety over time and offer a proposal for understanding the context of these variations. I propose that Monterrey’s distance from other urban centers made it a distinctive frontier town in northeast Mexico, where a baroque-infused piety dominated local religious practices even after the creation of the diocese in 1777. However, I demonstrate that late eighteenth-century and early nineteenth-century testators, although still concerned for their individual souls, requested fewer masses for the dead to benefit their souls and the souls of others, made fewer charitable gifts, and disregarded showy funerals for the sake of humility. What emerges, then, is a blend of baroque practices and pious reforms. “En el Nombre de Dios” is a case study about the staying power of traditions and the enduring flexibility of religion.

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Books on the topic "Late Baroque"

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Buelow, George J., ed. The Late Baroque Era. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3.

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Harman, Alec. Late Renaissance and Baroque music. London: Barrie & Jenkins, 1988.

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Late Baroque and Rococo architecture. Milan: Electa, 1985.

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Music in late Renaissance & early baroque Italy. Portland, Or: Amadeus Press, 1992.

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Carter, Tim. Music in late Renaissance & early Baroque Italy. London: B.T. Batsford, 1992.

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Carter, Tim. Music in late renaissance & early baroque Italy. London: B.T. Batsford, 1992.

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Carter, Tim. Music in late Renaissance and early baroque Italy. London: Batsford, 1992.

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Architectural diplomacy: Rome and Paris in the late Baroque. New York: Architectural History Foundation, 1993.

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9

English solo keyboard music of the middle and late Baroque. New York: Garland, 1989.

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Buelow, George J. The Late Baroque Era: From the 1680s to 1740 (Music and Society). Englewood Cliffs, NJ: Prentice Hall College Div, 1993.

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Book chapters on the topic "Late Baroque"

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Tibbetts, John C. "Late Baroque Music." In Performing Music History, 45–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92471-7_3.

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Sagall, Sabby. "The Late Baroque Style." In MUSIC and CAPITALISM, 19–69. New York: Palgrave Macmillan US, 2021. http://dx.doi.org/10.1057/978-1-137-52095-1_2.

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Buelow, George J. "Music and Society in the Late Baroque Era." In The Late Baroque Era, 1–38. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_1.

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Münster, Robert. "Courts and Monasteries in Bavaria." In The Late Baroque Era, 296–323. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_10.

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Wollenberg, Susan. "Vienna under Joseph I and Charles VI." In The Late Baroque Era, 324–54. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_11.

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Burrows, Donald. "London: Commercial Wealth and Cultural Expansion." In The Late Baroque Era, 355–92. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_12.

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Rasch, Rudolf. "The Dutch Republic." In The Late Baroque Era, 393–410. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_13.

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Stein, Louise K. "The Iberian Peninsula." In The Late Baroque Era, 411–34. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_14.

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Velimirović, Miloš. "Warsaw, Moscow and St Petersburg." In The Late Baroque Era, 435–65. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_15.

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Boyd, Malcolm. "Rome: the Power of Patronage." In The Late Baroque Era, 39–65. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11303-3_2.

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Conference papers on the topic "Late Baroque"

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Tabbarah, Faysal, and Ibrahim Ibrahim. "Painterly Assemblies: Making Through Scavenging." In 2018 ACSA International Conference. ACSA Press, 2018. http://dx.doi.org/10.35483/acsa.intl.2018.27.

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This paper presents an ongoing body of work that aims to disrupt prevailing Modernist tendencies within computational design practices and digital design methodologies as well as present an alternative for archaic and highly standardized modes of sustainable design production through describing the development of a painterly attitude towards digital and material computation and its resultant workflow. This ongoing body of work looks at the radical shift from the linear in late Renaissance to the painterly in the Baroque and its potential within the context of contemporary computational design methodologies and digital fabrication. The paper presents a workflow that includes scavenging for natural material, 3D scanning, along with digital and material assembly in the form of reciprocal frame systems.

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