Relevant bibliographies by topics / Suites (Flute and continuo)

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Suites (Flute and continuo)'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 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 'Suites (Flute and continuo).'

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 "Suites (Flute and continuo)"

Leedy, Douglas, Joseph Bodin de Boismortier, Clifford Bartlett, et al. "Six Sonatas, Op. 19; For Flute and Continuo." Notes 45, no. 1 (1988): 156. http://dx.doi.org/10.2307/941411.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Lasocki, David, Giovanni Platti, Gregory Hayes, et al. "Sonata in C Minor; For Oboe (Violin, Flute) and Basso Continuo (Harpsichord, Piano)." Notes 45, no. 3 (1989): 622. http://dx.doi.org/10.2307/940829.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Ford, Robert, Carl Friedrich Abel, Thomas Augustine Arne, et al. "Six Sonatas for 2 Violins or Flute and Violin and Continuo, Op. 3." Notes 45, no. 2 (1988): 377. http://dx.doi.org/10.2307/941366.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Talbot, Michael. "Seven Trio Sonatas, and: Six Quartets for Flute, Violin, Viola, and Basso Continuo (review)." Notes 62, no. 3 (2006): 806–9. http://dx.doi.org/10.1353/not.2006.0036.

Full text

APA, Harvard, Vancouver, ISO, and other styles

CAMPBELL, CAREY. "SOLOIST PARTICIPATION DURING THE TUTTIS OF EIGHTEENTH-CENTURY WOODWIND CONCERTOS." Eighteenth Century Music 7, no. 1 (2010): 63–79. http://dx.doi.org/10.1017/s1478570609990455.

Full text

Abstract:

ABSTRACTAlthough the common way to perform late eighteenth-century flute or oboe concertos today is for the soloist to rest during tutti passages, this is probably not what most composers had in mind. Recent research has shown that keyboard and violin soloists played an important role as orchestral members during the ritornellos of their concertos, the former providing a continuo part and the latter doubling the orchestral first violins. But what about concertos for flute or oboe? Were these soloists also to play during the tuttis, and if so, what? Primary source evidence (supported by statements in contemporary treatises) reveals that many eighteenth-century composers expected woodwind soloists to participate during all or some orchestral ritornellos. Printed and manuscript parts of the period reveal several types of soloist participation, suggesting that the practice was widespread yet also flexible. Reinstatement of the soloist in the tuttis, performing all of the music that eighteenth-century composers asked them to perform, would alter the way these concertos sound, in turn forcing a change in how they are perceived.

APA, Harvard, Vancouver, ISO, and other styles

Stoune, Michael C., James Oswald, Jeremy Barlow, Benedetto Marcello, Willy Hess, and Johann Christoph Pepusch. "Airs for the Seasons; For Flute (Or Violin) and Continuo, with Optional Second Part for Violin." Notes 42, no. 3 (1986): 652. http://dx.doi.org/10.2307/897361.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Oleskiewicz, Mary. "6 Kammersonaten fur 2 Floten und Basso continuo, and: Sonata I in D-Dur fur zwei Floten und Basso continuo, and: Sonata II in D-Dur fur zwei Floten und Basso continuo, and: Sonata III in a-Moll fur zwei Floten und Basso continuo, and: Complete Sonatas for Flute and Basso Continuo, and: Complete Sonatas for Flute and Obbligato Keyboard (review)." Notes 59, no. 1 (2002): 169–76. http://dx.doi.org/10.1353/not.2002.0139.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Gordeyeva, Elena V. "“The Ensemble of Performers” in the Textures of Clavier Compositions by J.S. Bach." ICONI, no. 1 (2020): 24–29. http://dx.doi.org/10.33779/2658-4824.2020.1.024-029.

Full text

Abstract:

The musical text of any of Johann Sebastian Bach’s works for clavier contains numerous artistic signs, semantic fi gures and expressive elements. Some of them bear within themselves signifi cations of diverse nuances of meaning and feelings through recreation of the scenes of music-making. Upon the defi nition of the semantic equivalent they align themselves into concrete plotline situations. The intonational formulas, the vertical and horizontal structures-dialogues, the acoustic images of musical instruments (including the human voice) imprinted in the musical texts of a composition — all of these semantic “characters” and “protagonists” designed to express the spirit of time, omnipresent, old and eternally new. The acoustic images in the structure of the musical texts may be extremely different: in the guises of duos, trios, baroque models with the participation of solo, basso continuo and tutti parts in their various alternations and combinations. The musical materials of suites and partitas are used in the article to trace the intertextual migration of typifi ed models of “migrating” images with the unfolding of the plotlines of “music within music.” Typifi ed dialogic structures are disclosed in the texture of the musical composition, and upon deciphering they become conducive towards a competent expressive articulation.

APA, Harvard, Vancouver, ISO, and other styles

Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

Full text

Abstract:

The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.

APA, Harvard, Vancouver, ISO, and other styles

Swack, Jeanne. "John Walsh's Publications of Telemann's Sonatas and the Authenticity of ‘Op. 2’." Journal of the Royal Musical Association 118, no. 2 (1993): 223–45. http://dx.doi.org/10.1093/jrma/118.2.223.

Full text

Abstract:

In the past decade the eighteenth-century London music publisher John Walsh has been subject to a new evaluation with regard to his pirated editions and deliberate misattributions, especially of the music of George Frideric Handel. That Walsh's attributions were anything but trustworthy had already been recognized in the eighteenth century: a surviving copy (London, British Library, BM g.74.d) of his first edition of the Sonates pour un traversiere un violon ou hautbois con basso continuo composées par G. F. Handel (c.1730), which, as Donald Burrows and Terence Best have shown, was provided with a title-page designed to simulate that of Jeanne Roger, bears the manuscript inscription ‘NB This is not Mr. Handel's’ in an eighteenth-century hand at the beginning of the tenth and twelfth sonatas, precisely those that Walsh removed in his second edition of this collection (c. 1731–2), advertised on the title-page as being ‘more Corect [sic] than the former Edition’. In the second edition Walsh substituted two equally questionable works in their place, each of which bears the handwritten inscription ‘Not Mr. Handel's Solo’ in a copy in the British Library (BM g.74.h). Two of the sonatas attributed to Handel in Walsh's Six Solos, Four for a German Flute and a Bass and Two for a Violin with a Thorough Bass … Composed by Mr Handel, Sigr Geminiani, Sigr Somis, Sigr Brivio (1730; in A minor and B minor) are also possibly spurious, while three of the four movements of the remaining sonata attributed to Handel in this collection (in E minor) are movements arranged from his other instrumental works. And in 1734 Johann Joachim Quantz, to whom Walsh devoted four volumes of solo sonatas (1730–44), complained of the publication of spurious and corrupted works:There has been printed in London and in Amsterdam under the name of the [present] author, but without his knowledge, 12 sonatas for the transverse flute and bass divided into two books. I am obliged to advertise to the public that only the first, second, fourth, fifth and sixth [sonatas] from the first book, and the first three from the second book, are his [Quantz's] compositions; and that he furthermore wrote them years ago, and besides they have, due to the negligence of the copyist or the printer, gross errors including the omission of entire bars, and that he does not sanction the printing of a collection that has no relationship with the present publication that he sets before the public.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Suites (Flute and continuo)"

Ruppe, Elizabeth Ambler. "Form and tonality as elements of neoclassical style in two works by Jean Francaix: Divertimento pour flute et piano (1955) and Suite pour flute seule (1963) with three recitals of selected works of Mozart, Widor, Feld, Muczynski and others." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278680/.

Full text

Abstract:

The music of Jean Francaix is well known to those familiar with woodwind chamber literature. His long, successful career began in the 1930s when French composers rejected the excessively chromatic harmonies, intense emotionalism and grandiose proportions of late Romantic music. Embracing the concepts of neoclassicism, economy of means, clarity and objectivity, and a return to diatonicism and formal structures, the new "Classical" music contained the added spice of twentieth-century harmonic techniques including bitonality, modality, and quartal and quintal harmonies. Francaix has written many concertos and solos for woodwind instruments, but his enduring popularity resides in his chamber music for various combinations. His publisher for the last six decades has been B. Schott's Sohne who commissioned Francaix to write several chamber works in honor of his eightieth birthday. Two of his works for flute, Divertimento pour flute et piano and Suite pour flute seule, are known to professional flutists but not considered standards in the flute repertoire. The purpose of this paper is to call attention to the wide variety of Francaix's repertoire which is eminently suitable for concert and recital programming. The identification of formal and tonal elements in Francaix's two works for flute helps to place his prodigious output within the context of the prevailing musical and philosophical aesthetic in France of the 1920s through 1940s. An annotated list of Francaix's works with flute in a primary role is included as an appendix.

APA, Harvard, Vancouver, ISO, and other styles

McNulty, Sarah. "C.P.E. Bach's flute and continuo sonatas (Wq.125-129, 134) : rhetorical processes used to convey a religious understanding and implications for performance." Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542822.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Thompson, Phil A. "A Historical Survey of Woodwind Doubling and A Form/Style Analysis of Four Works for Doubler and Wind Ensemble, a Lecture Recital together with Three Recitals of Selected Works by W.A. Mozart. A. Glazounov. P. Tate. A. Szalowski. A. Copland and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278544/.

Full text

Abstract:

Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

APA, Harvard, Vancouver, ISO, and other styles

Hsiao, Yi-chun, and 蕭伊君. "Carl Philipp Emanuel Bach:Hamberg Sonate G-Dur for flute and masoo continuo." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/43404001963772411368.

Full text

Abstract:

碩士 東吳大學 音樂學系 95 Carl Philipp Emanuel Bach〈1714~1788〉who was a composer, a flutist, and a harpsichordist .He was a composer strode across two famous of the musical times that was the last phases of Baroque and classical musical times. There are so many creative ideas in his works. He tried to use lots of different techniques that the other composers never did, including density contrast of the music and exchange the speed of strong and weak. These daring innovations were the characteristics of his works. This “Hamburger Sonate” which was composed by the traditional forms; however, the techniques in this compose are not hard. Emanuel Bach used the change of the rhythm, the contrast of cantus and the curtailment of movements to break his own jumping-off place. In the chapter of “Musical Interpretation”, I use the arrangements of tempo, articulation and legado sections to study this work. My thesis really can complete the work of “Hamburger Sonate” and close to the creative spirit of Carl Philipp Emanuel Bach. 〈Yi-Chug, Hsiao Flute Recital〉 F. Kuhlau （1786-1832）: Introduction et Rondo op. 98 C. Reinecke （1824-1910）: Ballade op.288 Gary Schocker （1959- ）:Green Places P. Taffanel （1844-1908） : Andante pastoral and scherzettino B. Martins （1890-1959） : First Sonate for flute and piano

APA, Harvard, Vancouver, ISO, and other styles

Chou, Hsiang-Wen, and 鄒湘雯. "Study on J.S. Bach sonatas for Flute and Basso Continuo—BWV1033､BWV1034､BWV1035." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/4tmsvs.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Chen, Yi-Chin, and 陳怡瑾. "The Analysis and Interpretation of George Friedrich Handel: 《Sonata in G major, WHV 363b》 for Flute and Basso continuo." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/70844139130356570586.

Full text

Abstract:

碩士 國立臺北教育大學 音樂學系碩士班 101 George Frederic Handel (1685-1759) is a famous musician in the Baroque era. His music style is pleasant. His instrumental music is deeply influenced by Arcangelo Corelli(1653-1713)with great musical form structure and figure motive.“Sonata in G major, WHV 363b for Flute and Basso continuo” was composed in 1711-16, and was highly praised by the tuneful melody. “Sonata in G major, WHV 363b” is a sonata da chiesa form. Instead of within the slow-fast-slow-fast scheme, this work substitutes two dances for the final fast movement. The first slow movement is the introduction of the work. The second movement is a typical fugue. The third movement is composed in counterpoint. The fourth movement is a Bourrée anglaise, and the fifth movement is a Minuetto. This paper is divided into five chapters. The first chapter is the introduction. The second chapter is the background of the“Sonata in G major, WHV 363b”. An analysis of this piece is in the third chapter. The fourth chapter is the performance interpretation. The last chapter is the conclusion of the research.

APA, Harvard, Vancouver, ISO, and other styles

LIN, TZU-YI, and 林姿儀. "The Analysis and Performance Practices of George Friedrich Handel《Sonata for Flute and Basso Continuo A-dur HWV 362》." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/p9ys67.

Full text

Abstract:

碩士 國立臺北教育大學 音樂學系碩士班 105 George Frederid Handel(1685-1759) is a German musician in the Baroque period. In addition to many operas and oratorios, Handel created many instrumental music. During his 74 years life, he dwelled in his motherland, Germany, as well as Italy-the birthplace of opera. Later, he settled in the United Kingdom as a British citizen. Therefore, Handel’s music owns German rigor, Italian gorgeousness and British elegance. His creation performed the rich experience as well. Handel’s good friend, Arcangelo Corelli(1653-1713) deeply influenced his instrumental music. Besides, he dealt with the music motivation and composing framework prudently. Four movements are included in Sonata A-minor HWV362. The first movement is Larghetto, the second movement is Allegro, the third movement Adagio, and the fourth movement is Allegro, which belongs to the Sonata da chiesa in the Baroque period. Each movement is full with bright, gorgeous, splendid and lovely’s mood. Moreover, Handel through the soft melody lines, emotional arrangement along with affluent music, fully demonstrated its composing skill. This paper is divided into five chapters. The first chapter is introduction, The second chapter starts with the life of composer and musical characteristics, The third chapter is the analysis of this works, Sonata A-minor HWV362, In the fourth chapter, the author studies the interpretation of the work , In the final chapter, it come to the conclusion.

APA, Harvard, Vancouver, ISO, and other styles

"A portfolio of music compositions." 2005. http://library.cuhk.edu.hk/record=b5892650.

Full text

Abstract:

Remembrance -- Suite -- Symphonic prelude. Ng Wah-hei. Thesis (M.Mus.)--Chinese University of Hong Kong, 2005. Abstracts in English and Chinese. Abstract --- p.i Table of Contents --- p.ii Acknowledgements --- p.iii Chapter 1. --- Remembrance for Orchestra --- p.1 Chapter 2. --- "Suite for Flute, Clarinet, Cello, and Percussion" --- p.58 Chapter 3. --- Symphonic Prelude for Orchestra --- p.100

APA, Harvard, Vancouver, ISO, and other styles

Bazala, Alison Andrist Audrey Vadala Kathleen Newman Edward Boyle Tara. "Bohuslav Martinů's chamber music for violoncello and piano." 2005. http://hdl.handle.net/1903/9747.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Suites (Flute and continuo)"

Marais, Marin. Suite en si mineur (4e livre, 4e suite) pour flûte traversière ou hautbois et basse continue. A. Leduc, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Marais, Marin. Suite en ré mineur (4e livre, 1ère suite) pour flûte a bec en ut ou hautbois et basse continue. A. Leduc, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Philidor, Pierre Danican. Suite Nr. 6 G-dur für zwei Querflöten (Oboen, Violinen) und Basso continuo =: Suite No. 6 in G major for two flutes (oboes, violins) and basso continuo. Bärenreiter, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Roseman, Ronald. Partita for flute alone. Essay Pub. Co., 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Seeger, Ruth Crawford. Diaphonic suite: For solo flute (or oboe). Merion Music, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Locklair, Dan. Flutes : a suite of inventions for solo flutes. E.C. Kerby Ltd., 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Quantz, Johann Joachim. Four flute sonatas. Alamire, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Besozzi, Alessandro. Six solos for flute, oboe or violin and continuo. Classical Winds Press, 2005.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Cummings, Barton. Suite for flute and piano. Conners Publications, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

David, Harris C., ed. Sonatas and suites, opus 8, for two violins, violoncello, and basso continuo. A-R Editions, 1986.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Suites (Flute and continuo)"

Schulenberg, David. "Bach the Capellmeister." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

Full text

Abstract:

As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.

APA, Harvard, Vancouver, ISO, and other styles

Duffek. Jr., Mihály. "Performance and Transcription of Baroque Solo Pieces for Bassoon." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/9.

Full text

Abstract:

This essay examines the sources of the autograph and other copies of two selected solo pieces, J. S. Bach's Cello Suites and Georg Philipp Telemann's Fantasies for Solo Flute used to make a bassoon transcription. Using the special literature on the subject of the Baroque style of playing in general, the articulation, ornamentation, dynamics and tempi of the two pieces were determined. along with the role and playing possibilities of the period bassoon. Aspects of the transcription include: a brief description of the habitual Baroque transcription and its tradition, presentation and evaluation of other bassoon transcriptions of the selected pieces, detailed aspects of the author’s transcription of the articulation, ornaments, dynamics, tempi and breathing. Also discussed are the purpose of the completed transcription, its role in education, and its place in the bassoon repertoire. Keywords: bassoon, solo bassoon, baroque, transcription, Bach, Telemann

APA, Harvard, Vancouver, ISO, and other styles

"Glossary Bailian Jiao White Lotus teachings baimiao paying homage at the temples ban band caijie street procession cha, ban small cymbals chi hui hold a feast for all the households chuige songs for winds chuigu shou drumers and wind players dangzi gong in frame daqu large pieces dizi transverse flute with kazoo membrane fang dengke releasing the lanterns fangshe or shishi pardon and distribution of food fang hedeng releasing the river lanterns gongche traditional notation gu large barrel drum guanshi, zan guan helper guanzi double-reed pipe guyueban, chuida ban wind-and-percussion band huahui assembly of performing troupes hui association huishou association head nanyue the southern music nao, bo large cymbals pai prelude paizi percussion pieces, cf. the melodic qupai qu pieces qupai labelled melodies shang miao going to the temple shan hui charitable associations she society she hui altar assembly shen body sheng free-reed mouth organ sheng-guan yue type of wind-and-percussion music shenghui outstanding association shifu masters tao suites wei tail xiangshou incense head xiaoqu small pieces xueshi learning the [ritual] business xuyuan make vows to the gods." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-10.

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!