The Performance of the Basso Continuo in Italian Baroque Music
Demonstrates how the basso continuo line has an independent musical funxtion in ensemble music of the Italian Baroque period.
Covers the Italian Baroque period (1600-1730). Borgir rejects the notion that the basso continuo line is doubled by bass instruments and shows how these have an independent musical function in ensemble music. He untangles their confusing terminology and also explores the unexpected uses of the large lutes. Italian continuo practice included elaborate training in improvisation described in detail here for the first time.
Tharald Borgir is Professor Emeritus in the Music Department at Oregon State University. His principal performance activities have been on the harpsichord and the fortepiano.
"1100415108"
Covers the Italian Baroque period (1600-1730). Borgir rejects the notion that the basso continuo line is doubled by bass instruments and shows how these have an independent musical function in ensemble music. He untangles their confusing terminology and also explores the unexpected uses of the large lutes. Italian continuo practice included elaborate training in improvisation described in detail here for the first time.
Tharald Borgir is Professor Emeritus in the Music Department at Oregon State University. His principal performance activities have been on the harpsichord and the fortepiano.
The Performance of the Basso Continuo in Italian Baroque Music
Demonstrates how the basso continuo line has an independent musical funxtion in ensemble music of the Italian Baroque period.
Covers the Italian Baroque period (1600-1730). Borgir rejects the notion that the basso continuo line is doubled by bass instruments and shows how these have an independent musical function in ensemble music. He untangles their confusing terminology and also explores the unexpected uses of the large lutes. Italian continuo practice included elaborate training in improvisation described in detail here for the first time.
Tharald Borgir is Professor Emeritus in the Music Department at Oregon State University. His principal performance activities have been on the harpsichord and the fortepiano.
Covers the Italian Baroque period (1600-1730). Borgir rejects the notion that the basso continuo line is doubled by bass instruments and shows how these have an independent musical function in ensemble music. He untangles their confusing terminology and also explores the unexpected uses of the large lutes. Italian continuo practice included elaborate training in improvisation described in detail here for the first time.
Tharald Borgir is Professor Emeritus in the Music Department at Oregon State University. His principal performance activities have been on the harpsichord and the fortepiano.
29.95
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The Performance of the Basso Continuo in Italian Baroque Music
188
The Performance of the Basso Continuo in Italian Baroque Music
188Paperback
$29.95
29.95
In Stock
Product Details
| ISBN-13: | 9780835719124 |
|---|---|
| Publisher: | BOYDELL & BREWER INC |
| Publication date: | 03/01/1991 |
| Series: | Studies in Musicology |
| Pages: | 188 |
| Product dimensions: | 6.00(w) x 9.00(h) x (d) |
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