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Composers at Work: The Craft of Musical Composition 1450-1600 by Owens
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所在地：Princeton, West Virginia, 美國
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eBay 物品編號：326010622197
物品細節
- 物品狀況
- Pages
- 368
- Publication Date
- 1998-11-19
- Book Title
- Composers at Work : the Craft of Musical Composition 1450-1600
- Subject
- Craft
- ISBN
- 9780195129045
- Item Length
- 6 in
- Publisher
- Oxford University Press, Incorporated
- Publication Year
- 1998
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.8 in
- Genre
- Music
- Topic
- History & Criticism, Instruction & Study / Composition
- Item Width
- 9 in
- Item Weight
- 19.1 Oz
- Number of Pages
- 368 Pages
關於產品
Product Information
How did Renaissance composers write their music? In this revolutionary look at a subject that has fascinated scholars for years, musicologist Jessie Ann Owens offers new and striking evidence that contrary to accepted theory, sixteenth-century composers did not use scores to compose--even to write complex vocal polyphony. Drawing on sources that include contemporary theoretical treatises, documents and letters, iconographical evidence, actual fragments of composing slates, and numerous sketches, drafts, and corrected autograph manuscripts, Owens carefully reconstructs the step-by-step process by which composers between 1450 and 1600 composed their music. The manuscript evidence--autographs of more than thirty composers--shows the stages of work on a wide variety of music--instrumental and vocal, sacred and secular--from across most of Renaissance Europe. Her research demonstrates that instead of working in full score, Renaissance composers fashioned the music in parts, often working with brief segments, according to a linear conception. The importance of this discovery on editorial interpretation and on performance cannot be overstated. The book opens with a broad picture of what has been known about Renaissance composition. From there, Owens examines the teaching of composition and the ways in which musicians and composers both read and wrote music. She also considers evidence for composition that occurred independent of writing, such as composing "in the mind" or composing with instruments. In chapters on the manuscript evidence, she establishes a typology both of the sources themselves and of their contents (sketches, drafts, fair copies). She concludes with case studies detailing the working methods of Francesco Corteccia, Henricus Isaac, Cipriano de Rore, and Giovanni Pierluigi da Palestrina. This book will change the way we analyze and understand early music. Clear, provocative, and painstakingly researched, Composers at Work: The Craft of Musical Composition 1450-1600 makes essential reading for scholars of Renaissance music as well as those working in related fields such as sketch studies and music theory.
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0195129040
ISBN-13
9780195129045
eBay Product ID (ePID)
866033
Product Key Features
Book Title
Composers at Work : the Craft of Musical Composition 1450-1600
Format
Trade Paperback
Language
English
Topic
History & Criticism, Instruction & Study / Composition
Publication Year
1998
Type
Textbook
Illustrator
Yes
Genre
Music
Number of Pages
368 Pages
Dimensions
Item Length
6 in
Item Height
0.8 in
Item Width
9 in
Item Weight
19.1 Oz
Additional Product Features
Intended Audience
College Audience
Lc Classification Number
Ml430.O94
Reviews
"A thoughtful and multi-faceted approach to a problem that has long been amatter of speculation. The astonishing and most original contribution of herstudy is that no evidence has come to light that accomplished composers usedscores for composing. This book will awaken new interest in Renaissancecomposition and should interest all students of Renaissance music."--Bonnie J.Blackburn, Wolfson College, Oxford, "This excellent book is important not only for its general theory but for its illumination of the everyday."--Times Literary Supplement, "Wherever the study of this material leads from here, though, this book,in setting out the problem and beginning to address it, is the essential pointof departure. Rich in its contents, then, Composers at Work is richer still inits implications for future research." --Journal of the American MusicologicalSociety, "Composers at Work justly deserves to be called remarkable, not onlybecause its deductive and intellectual achievements are so very great, but alsobecause it opens a field of research that will be unknown to many readers....Thanks to Owens's painstaking and brilliant evaluation of the evidence, wepossess a clearer understanding of the processes by which [Renaissance]composers built their pieces, section by section and layer by layer.... As astudy of technical procedure, [this book] is a triumph, and it must be requiredreading for anyone with an interest in Renaissance polyphony...."--John Milsom,Notes, "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound newunderstanding of how Renaissance composers understood their art."--Choice, "With Owens's book scholars and students at last have a study concernedwith the creative processes of European composers active at a time of bothprofound stylistic change and remarkable transformations in the manner,material, and uses of written texts....[Owens] provides a profound newunderstanding of how Renaissance composers understood their art."--Choice, " Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom, Notes "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."-- Choice "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "This excellent book is important not only for its general theory but forits illumination of the everyday."--Times Literary Supplement, the most comprehensive and enlightening study of Renaissance musical compostion yet written ... This excellent book is important not only for its general theory but for its illumination of the everyday, "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest inRenaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "This is an extremely important book, beautifully executed, and will stand as the study in the field of Renaissance composition for many years to come. It synthesizes all previous work in the area and contributes a vast amount of new material and new interpretations."--M. Jennifer Bloxam,Williams College, "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania, "This is a stunning piece of work which will alter the landscape ofRenaissance musicology in very important ways."--Lawrence Bernstein, Universityof Pennsylvania, "...her style is so lucid that the interested lay reader will have notrouble following the discussion. The book is copiously illustrated withmusical examples and facsimiles....Owens's findings pose interesting challengesfor thoughtful performers of the music of the period."--American Recorder, "Composers at Workjustly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom,Notes "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."--Choice "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein,University of Pennsylvania "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood,Harvard University "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn,Wolfson College, Oxford, "One of the most important studies in Renaissance musicology in manyyears. A landmark."--Lewis Lockwood, Harvard University, "Wherever the study of this material leads from here, though, this book, in setting out the problem and beginning to address it, is the essential point of departure. Rich in its contents, then, Composers at Work is richer still in its implications for future research." --Journal of theAmerican Musicological Society, "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University, "Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of theevidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissancepolyphony...."--John Milsom, Notes, "Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom, Notes"With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."--Choice"This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania"One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University"A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "This is an extremely important book, beautifully executed, and will standas the study in the field of Renaissance composition for many years to come. Itsynthesizes all previous work in the area and contributes a vast amount of newmaterial and new interpretations."--M. Jennifer Bloxam, Williams College, "Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom, Notes "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."--Choice "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "...her style is so lucid that the interested lay reader will have no trouble following the discussion. The book is copiously illustrated with musical examples and facsimiles....Owens's findings pose interesting challenges for thoughtful performers of the music of the period."--AmericanRecorder
Dewey Decimal
781/.3/09031
Dewey Edition
20
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eBay 物品編號：326010622197
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物品所在地：
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