The sonata
著者
書誌事項
The sonata
(Cambridge introductions to music)
Cambridge University Press, 2011
- : pbk
- : hardback
- タイトル別名
-
Die Sonate
大学図書館所蔵 全7件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Translation of: Die Sonate (Bärenreiter, 2005)
Includes bibliographical references (p. 243-249) and index
内容説明・目次
内容説明
What is a sonata? Literally translated, it simply means 'instrumental piece'. It is the epitome of instrumental music, and is certainly the oldest and most enduring form of 'pure' and independent instrumental composition, beginning around 1600 and lasting to the present day. Schmidt-Beste analyses key aspects of the genre including form, scoring and its social context - who composed, played and listened to sonatas? In giving a comprehensive overview of all forms of music which were called 'sonatas' at some point in musical history, this book is more about change than about consistency - an ensemble sonata by Gabrieli appears to share little with a Beethoven sonata, or a trio sonata by Corelli with one of Boulez's piano sonatas, apart from the generic designation. However, common features do emerge, and the look across the centuries - never before addressed in a single-volume survey - opens up new and significant perspectives.
目次
- Part I. Definitions: 1. Sonata and canzona
- 2. Sonata and sinfonia
- 3. Sonata and concerto
- 4. Sonata and suite/partita
- 5. The sonata and free instrumental genres: toccata - ricercar - capriccio - fantasia
- Part II. Form: 6. The 'free' sonata in the seventeenth century
- 7. Corelli and his legacy
- 8. Sonata cycles and 'sonata form' after 1750
- 9. Beethoven's sonatas - consummating or transcending Classical form?
- 10. The cycle
- 11. The sonata after Beethoven
- 12. Sonata composition in the twentieth century
- Part III. Functions and Aesthetics: 13. Locations and occasions
- 14. Target groups: professionals, connoisseurs and amateurs
- 15. Learned style
- 16. Virtuosity
- 17. Sonata form as an aesthetic paradigm
- 18. Absolute music? On meaning and programmaticism
- Part IV. Scoring and Texture: 19. Developments in the seventeenth and eighteenth centuries
- 20. The paradigm shift of c.1750
- 21. The age of the piano sonata
- 22. Piano and others
- 23. The sonata for unaccompanied solo instrument
- 24. The organ sonata
- Bibliography.
「Nielsen BookData」 より