Eastman Studies in Music: Songs Without Words : Keyboard Arrangements of Vocal Music in England, 1560-1760 Volume 133 by Sandra Mangsen in FB2, TXT, PDF
9781580465496 1580465498 Keyboard arrangements of vocal music flourished in England between1560 and 1760. Songs without Words, by noted harpsichordist and early-music authority Sandra Mangsen, is the first in-depth study of this topic, uncovering a body of material that is remarkably varied, musically interesting, and indicative of major trends in musical and social life at the time. Mangsen's Songs without Words argues that the pieces upon which these keyboard arrangements were based constituted a shared repertoire, akin to the jazz standards of the twentieth century. In Restoration England, the ballad tradition saw tunes and texts move between oral, manuscript, and printed transmission and from street to playhouse and back again. During the eighteenth century, printed keyboard arrangements were aimed particularly at female amateur keyboardists and helped opera to become a widely popular genre. Songs without Words considers a wide range of model pieces, including songs of many kinds and arias and other numbers from operas and oratorios. The resulting keyboard versions range from simple and pedagogically oriented to highly virtuosic. Two central issues -- the relationship between an arrangement and its model and the reception and aesthetics of arrangements -- are explored in the framing chapters. The result is a study that will be of great interest to scholars, performers, and anyone who loves the music of the late Renaissance, Baroque, and early Classic eras. Sandra Mangsen is professor emerita of music at the University of Western Ontario., Songs without Words investigates keyboard arrangements of vocal music in England, ca. 1560-1760. The focus is on the domestic performance of music from operas and oratorios in the eighteenth century, and the importance of well-known ballad and dance tunes for earlier composers of both virtuosic and pedagogical arrangements. Teachers, performers, and publishers at the time made little distinction between arranged and newly composed music for the keyboard. The models for these keyboard arrangements made up a shared repertoire, akin to the jazz standards of the twentieth century. In Restoration England, the ballad tradition saw tunes and texts move between oral, manuscript, and printed transmission, and from street to playhouse and back again. In the eighteenth century printed keyboard arrangements aimed at female amateurs aided in the popularization of opera. The relation between arrangements and their models, the reception, and the aesthetics of arrangements are explored in the framing chapters. Sandra Mangsen is Professor Emerita of Music at the University of Western Ontario (London, Canada) and resides in Vermont. She is a professional harpsichordist and holds the doctorate in musicology from Cornell University.
9781580465496 1580465498 Keyboard arrangements of vocal music flourished in England between1560 and 1760. Songs without Words, by noted harpsichordist and early-music authority Sandra Mangsen, is the first in-depth study of this topic, uncovering a body of material that is remarkably varied, musically interesting, and indicative of major trends in musical and social life at the time. Mangsen's Songs without Words argues that the pieces upon which these keyboard arrangements were based constituted a shared repertoire, akin to the jazz standards of the twentieth century. In Restoration England, the ballad tradition saw tunes and texts move between oral, manuscript, and printed transmission and from street to playhouse and back again. During the eighteenth century, printed keyboard arrangements were aimed particularly at female amateur keyboardists and helped opera to become a widely popular genre. Songs without Words considers a wide range of model pieces, including songs of many kinds and arias and other numbers from operas and oratorios. The resulting keyboard versions range from simple and pedagogically oriented to highly virtuosic. Two central issues -- the relationship between an arrangement and its model and the reception and aesthetics of arrangements -- are explored in the framing chapters. The result is a study that will be of great interest to scholars, performers, and anyone who loves the music of the late Renaissance, Baroque, and early Classic eras. Sandra Mangsen is professor emerita of music at the University of Western Ontario., Songs without Words investigates keyboard arrangements of vocal music in England, ca. 1560-1760. The focus is on the domestic performance of music from operas and oratorios in the eighteenth century, and the importance of well-known ballad and dance tunes for earlier composers of both virtuosic and pedagogical arrangements. Teachers, performers, and publishers at the time made little distinction between arranged and newly composed music for the keyboard. The models for these keyboard arrangements made up a shared repertoire, akin to the jazz standards of the twentieth century. In Restoration England, the ballad tradition saw tunes and texts move between oral, manuscript, and printed transmission, and from street to playhouse and back again. In the eighteenth century printed keyboard arrangements aimed at female amateurs aided in the popularization of opera. The relation between arrangements and their models, the reception, and the aesthetics of arrangements are explored in the framing chapters. Sandra Mangsen is Professor Emerita of Music at the University of Western Ontario (London, Canada) and resides in Vermont. She is a professional harpsichordist and holds the doctorate in musicology from Cornell University.