Relevant bibliographies by topics / Secular Solo cantatas

Contents

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

Academic literature on the topic 'Secular Solo cantatas'

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Secular Solo cantatas.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Secular Solo cantatas"

1

Torrente, Álvaro, and Pablo-L. Rodríguez. "The ‘Guerra Manuscript’ (c.1680) and the Rise of Solo Song in Spain." Journal of the Royal Musical Association 123, no. 2 (1998): 147–89. http://dx.doi.org/10.1093/jrma/123.2.147.

Full text
Abstract:
The discovery of a new anthology of secular songs from Madrid fills an important lacuna in our understanding of secular music in seventeenth-century Spain. The Biblioteca Xeral of the University of Santiago de Compostela — near the romanesque cathedral for which the famous Codex Calixtinus was written — preserves a manuscript of 111 folios (E-SCu MS 265) which has hitherto escaped the attention of both musicological and literary scholars. It contains 100 anonymous songs, all but two for solo voice and continuo, and was copied by a certain José Miguel Guerra, scribe of the Spanish Royal Chapel. The manuscript is undated but, as we will argue later, it appears to have been compiled around 1680. If this estimate is correct, it would make this anthology the earliest collection of its kind, a significant missing link between the latest polyphonic cancioneros of the mid-seventeenth century and the numerous anthologies of solo songs and cantatas from the 1690s onwards. This article represents a preliminary investigation of the manuscript, its contents and the circumstances of its compilation, though many of the questions surrounding the collection will have to await further study.
APA, Harvard, Vancouver, ISO, and other styles
2

REUL, BARBARA M. "CATHERINE THE GREAT AND THE ROLE OF CELEBRATORY MUSIC AT THE COURT OF ANHALT-ZERBST." Eighteenth Century Music 3, no. 2 (September 2006): 269–309. http://dx.doi.org/10.1017/s1478570606000613.

Full text
Abstract:
As Empress of Russia, Catherine the Great (1729–1796) shaped not only history in general but also, as a member of its princely family, the history of Anhalt-Zerbst. Drawing upon little known eighteenth-century manuscripts housed at the Landeshauptarchiv of Saxony-Anhalt in Dessau and the Francisceumsbibliothek in Zerbst, this study assesses the impact of Catherine’s marriage in 1745 to Grand Duke Peter of Russia (1728–1762) on musical life at the court of Anhalt-Zerbst during and after the thirty-six-year tenure of Kapellmeister Johann Friedrich Fasch (1688–1758). First the role of music at the court prior to 1745 will be considered – specifically the ‘Concert-Stube’, an inventory of the Hofkapelle’s musical library prepared according to Fasch’s specifications in March 1743. The second section of this article focuses on the celebrations held at the court in 1745 on the occasion of Catherine the Great’s wedding. The Hofkapelle premiered a large-scale serenata by Fasch, the music to which has been lost. However, an examination of the extant libretto and of other music by Fasch that was performed at the court during the 1740s sheds light on the musical forces he would have employed and the compositional approach he might have taken. The Hofkapelle also performed a secular wedding cantata for bass solo and instruments by an anonymous composer as part of a spectacular fireworks display in three acts, the ‘Anhalt-Zerbstisches Freuden-Feuer’ (Fire of Joy), chronicled by Zerbst headmaster Johann Hoxa. Finally, it is possible to reconstruct a performance schedule of sacred music premiered in honour of Catherine the Great from 1746 to 1773. Despite Fasch’s death in 1758 and the Seven Years War, which led to the town of Zerbst being occupied by 16,000 Prussian soldiers for three years until 1761, new music was commissioned by the court from Fasch’s successor Johann Georg Röllig (1710–1790), Catherine the Great’s keyboard instructor at the court of Anhalt-Zerbst. He not only provided occasional compositions to commemorate her birthday and accession to the Russian throne but also composed a new cycle of Sunday cantatas to reflect the changing artistic priorities and practices of the Hofkapelle in the early 1760s.
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Secular Solo cantatas"

1

Alley, Candace P. "Jasmine's Secret: Narrative Cantata for Five Solo Voices, Narrator, and Orchestra." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935619/.

Full text
Abstract:
Since Jasmine's Secret contains elements of cantata and follows a dramatic story or program, the work may be classified as a narrative or dramatic story or program, the work may be classified as a narrative or dramatic cantata employing five solo voices, narrator and orchestra. This work attempts a revival of these two genres as a combined entity due to the decreased popularity of both cantata and programmatic music in the 20th century.
APA, Harvard, Vancouver, ISO, and other styles
2

Napier, Dione J. "A STUDY OF J.S. BACH’S SACRED AND SECULAR VOCAL WORKS INFLUENCED BY POPULAR STYLIZED DANCE OF THE FRENCH BAROQUE COURT: A PERFORMER’S GUIDE." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/23.

Full text
Abstract:
Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.
APA, Harvard, Vancouver, ISO, and other styles
3

Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Secular Solo cantatas"

1

Goodall, Richard. Eighteenth-century English secular cantatas. New York: Garland Pub., 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Zur Geschichte der weltlichen Solokantate in Neapel im frühen Settecento: Die Solokantaten von Domenico Sarro (1679-1744). Frankfurt am Main: Lang, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Benjamin, Britten. Phèdre. Arles: Actes sud, Opéra Marseille, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Davidovsky, Mario. Scenes from Shir ha-shirim: Song of songs : soprano, 2 tenors, bass soli and chamber ensemble. New York: C.F. Peters, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

The Solo Cantata in Eighteenth-Century Britain: A Thematic Catalog. Harmonie Park Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Twelve Cantatas Op 4 (Baroque, Vol 31). A-R Editions, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

The Chamber Cantatas of Antonio Vivaldi. Boydell Press, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Songs for Solo Voice and Piano. Dover Publications, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Alexander, Ronald James, and Richard Savino. Francesca Caccini's Il Primo Libro Delle Musiche of 1618: A Modern Critical Edition of the Secular Monodies (Publications of the Early Music Intitute). Indiana University Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Butler, Gregory. The Choir Loft as Chamber. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0005.

Full text
Abstract:
This chapter examines concerted movements written by Johann Sebastian Bach from the mid- to late 1720s and how he adopted a “choir loft as chamber” approach to organ performance—performing different versions of the same concerted instrumental movements for the chamber and for the church. Bach worked as composer and performer not only for the Collegium Musicum in Leipzig, but also for its principal churches. In addition to parodying secular vocal compositions, transforming them into church cantatas, however, Bach was also adapting for church performances preexisting instrumental concerted movements, using obbligato organ as solo melody instrument in various sinfonias, arias, and choruses. Using the Concerto in E Major for harpsichord and strings, BWV 1053, as reference, this chapter demonstrates the connection between two spheres of activity that occurred after late May 1725, when the steady flow of new cantata compositions by Bach ceased: the secular arena of the ordinaire and extraordinaire performances of the Collegium, especially during the Leipzig fairs, and the weekly performances of concerted vocal music at the Haupgottesdienst in Leipzig’s St. Nicholas and St. Thomas Churches.
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Secular Solo cantatas"

1

Schulze, Hendrik. "Narration, Mimesis and the Question of Genre: Dramatic Approaches in Giovanni Legrenzi’s Solo Cantatas, Opp. 12 and 14." In Aspects of the Secular Cantata in Late Baroque Italy, 55–77. Routledge, 2017. http://dx.doi.org/10.4324/9781315096797-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography