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It is the aim of this study to give as full an accounting as possible of basse continue performance as it is documented in the numerous seventeenth and eighteenth century treatises produced in France.This comprehensive study basse continue practice supplements an already sizeable body of literature on thorough bass accompaniment, the emphasis of which has clearly been Italian and German theoretical works. The numerous French accompaniment treatises written during the XVIIth and XVIIIth centuries seem to have been, with only a few choice exceptions, unjustifiably dismissed by many modern scholars as little more than harmonic tutors, and the discipline of musicology - particularly as it relates to historical performance practice - has definitely suffered as a result. These works certainly do not deserve such a fate, for they provide not only unique documentation of French harmonic theory as it evolved over the course of more than a century, but a wealth of important information regarding XVIIth and XVIIIth century French performance practice as well. It is the aim of this study to give as full an accounting as possible of basse continue performance as it is documented in the numerous XVIIth and XVIIIth century treatises produced in France, beginning with Nicholas Fleury´s Méthode pour facilement a toucher le théorbe sur la basse-continuë (1660) and continuing through Pierre-Joseph Roussier´s Traité des accords, et de leur succession (1764) and his L´harmonie pratique, ou exemples pour le Traité des accords (1775). The issues dealt with in the treatises are treated systematically, and provide the framework for the entire study.

Basse continue --- Basso continuo --- Thorough bass --- Continuo --- Musical accompaniment --- Music --- Accompagnement (Musique) --- Musique --- Early works to 1800 --- History and criticism. --- Ouvrages avant 1800 --- Histoire et critique --- History and criticism --- France --- 17th century --- 18th century --- 78.52 --- 78.63 --- Continuo - France --- Music - France - 17th century - History and criticism --- Music - France - 18th century - History and criticism --- Barok --- Uitvoeringspraktijk

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Instrumental music --- Italy --- 17th century --- History and criticism --- Vocaal --- Italië --- 16e eeuw --- 17e eeuw

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Viennese composer Hugo Wolf produced one of the most important song collections of the nineteenth century when he set to music fifty-three poems by the great German poet Eduard Mörike. Susan Youens reappraises this singular collaboration to shed new light on the sophisticated interplay between poetry and music in the songs. Wolf is customarily described as 'the Poet's Composer', someone who revered poetry and served it faithfully in his music. Yet, as Youens reveals, this cliché overlooks the rich terrain in which his songs are often at cross purposes with his chosen poetry. Although Wolf did much to draw the world's attention to the neglected Swabian poet, his musical interpretation of the poetry was also influenced by his own life, psychology and experiences. This book examines selected Mörike songs in detail, demonstrating that the poems and music each have their own distinctive stories which at times intersect but also diverge.

Mörike, Eduard Friedrich, --- Wolf, Hugo, --- Musical settings --- History and criticism. --- Mörike, Eduard, --- Mërike, Ė., --- Molike, Aidehua, --- Möricke, Eduard, --- Wolf, Hugo --- Mörike, Eduard, Friedrich --- History and criticism --- Duitsland --- 19e eeuw --- Liederen

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What emerges from this study, is a picture of 18th-century opera as a literary work as well as a theatrical and musical event in its challenging and variable interactions of poetry, music, gesture and decor.What emerges from this study, is a picture of 18th-century opera as a literary work as well as a theatrical and musical event in its challenging and variable interactions of poetry, music, gesture and decor. This is illuminated by an exploration of both the context of ideas in which opera flourished and the aims that animated those who where involved with its existence - poets, composers, performers, dramatists, impresari, patrons, audiences - in an attempt to penetrate the secrets of its appeal, of that tacit agreement between authors and audiences, that made it possible for dramatist, musicians and stage designers to manipulate spectator´s emotions and reactions as successfully as many sources document.

Music --- Theatrical science --- anno 1600-1699 --- anno 1700-1799 --- Europe --- Opera --- Theater --- Bel canto --- Opéra --- Théâtre --- History --- Dramaturgy. --- Histoire --- Dramaturgie --- opera's (genre) --- dramaturgie --- Opéra --- Théâtre --- 78.77.0 --- Opera - Italy - 17th century. --- Opera - Italy - 18th century. --- Theater - Europe - History - 17th century --- Theater - Europe - History - 18th century --- Commedia dell'arte --- Opera's --- Italië --- 18e eeuw --- 17e eeuw

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Sibelius, Jean, --- Composers --- Music --- Compositeurs --- Musique --- Biography --- History and criticism --- Biographies --- Histoire et critique --- Criticism and interpretation. --- Sibelius, Jean --- Finland --- 19e eeuw --- 20e eeuw