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Genre in Eighteenth-Century Music Contents Preface Contributors Part 1 Eighteenth-Century Neapolitan Comic Opera The ‘Catechism’ of the commedeja pe’ mmuseca in Early Eighteenth-Century Naples, Paologiovanni Maione Politics and commedia per musica: Paisello’s Le gare generose between Naples and Venice [Abstract only], Pierpaolo Polzonetti Enlightened Themes and the Neapolitan Academic querelle at the End of the Eighteenth Century, Antonio Caroccia Giovanni Battista Lorenzi (1721–1807) and Neapolitan Comic Opera in the Late Eighteenth Century, Anthony R. DelDonna Part 2 Genre and Vocal Music Domesticating Opera: John Walsh and his editions of Symphonys or Intrumental Parts, Richard Hardie ‘Greatly inferior’ Entertainments: Opera and Genre in Eighteenth-Century London [Abstract only], Michael Burden Part 3 Genre and Instrumental Music What’s in a Name? C. P. E. Bach and the Genres of the Character Piece and Musical Portrait, Joshua S. Walden C. P. E. Bach’s Sonatinas for Keyboard(s) and Orchestra, Stephen C. Fisher Capriccio Finales in the Symphonies of Antonio Rosetti: Meaning and Significance, Sterling E. Murray When is a Serenade a Serenade? Andrew Kearns Part 4 A Miscellany of Genres The German Songbook in Colonial America, Timothy Sharp Chorale Arrangements in the Late Liturgical Passions of Georg Philipp Telemann, Jason Grant Villancicos, Cantadas, Arias, and Tonadas: Making Sense of Italianized Spanish Genres in the Eighteenth Century, [Abstract only], Drew Edward Davies The Composing of ‘Musick’ in the English Language: the Development of the English Cantata, 1700–1750, Jennifer Cable Index |
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