| 000 | 03333cam a2200481Ma 4500 | ||
|---|---|---|---|
| 001 | on1103219938 | ||
| 003 | OCoLC | ||
| 005 | 20241121072750.0 | ||
| 006 | m d | ||
| 007 | cr cnu---unuuu | ||
| 008 | 190601s2019 enk o 000 0 eng d | ||
| 040 |
_aEBLCP _beng _cEBLCP _dOCLCO _dN$T |
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| 020 | _a1108372953 | ||
| 020 |
_a9781108372954 _q(electronic bk.) |
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| 035 |
_a2112070 _b(N$T) |
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| 035 | _a(OCoLC)1103219938 | ||
| 050 | 4 | _aML430 | |
| 072 | 7 |
_aMUS _x041000 _2bisacsh |
|
| 082 | 0 | 4 |
_a781.30943/09032 _223 |
| 049 | _aMAIN | ||
| 100 | 1 |
_aRose, Stephen, _d1975- _eauthor. _911802 |
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| 245 | 1 | 0 |
_aMusical authorship from Sch�utz to Bach _h[electronic resource] / _cStephen Rose. |
| 260 |
_aCambridge : _bCambridge University Press, _c2019. |
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| 300 | _a1 online resource (262 p.). | ||
| 490 | 1 | _aMusical Performance and Reception | |
| 500 | _aDescription based upon print version of record. | ||
| 505 | 0 | _aCover; Half-title; Series information; Title page; Copyright information; Dedication; Contents; List of Figures; Music Examples; Acknowledgements; Author's Note; List of Abbreviations; Introduction; Chapter 1 God, Talent, Craft: Concepts of Musical Creativity; Theological Concepts of Creativity; Humanist Notions of Authorship; The Artisanal View of Production; Debates about Invention; Epilogue; Chapter 2 Between Imitatio and Plagiarism; Imitatio and Authority; Emulation and Allusion; Plagiarism versus Honest Theft; Early Capitalism and Musical Borrowing; Epilogue | |
| 505 | 8 | _aChapter 3 Signs of IndividualityCapitalism and the Crisis of Authentication; Composers and Authentication Marks; Composer Portraits in Printed Music; Individuality and Compositional Style; Chapter 4 Rites of Musical Ownership; Common Good versus Princely Secrecy; Privileges as Princely Protection; Privileges versus Piracy; Musical Ownership in the Age of Manuscript; Chapter 5 The Regulation of Novelty; Social Discipline and Music; The 1580 Edict and Its Implementation; The Cantor as Composer; Choosing a New Cantor; Chapter 6 Authorship and Performance | |
| 505 | 8 | _aModels for the Composer-Performer RelationshipComposition and Performance as Separate Spheres; The Composer as Ideal Performer; Authorial Intentions and Performance; Conclusion; Bibliography; Primary Sources; Manuscripts; Printed Primary Sources; Secondary sources; Modern editions of music; Index | |
| 520 | _aExplores the meanings of the term 'author' for seventeenth-century German musicians, examining how compositions were made and used. | ||
| 590 | _aMaster record variable field(s) change: 050, 072, 082, 650 | ||
| 650 | 0 |
_aComposition (Music) _xHistory _y17th century. _911803 |
|
| 650 | 0 |
_aComposition (Music) _xHistory _y18th century. _911804 |
|
| 650 | 0 |
_aAuthorship. _92404 |
|
| 650 | 7 |
_aMUSIC / Instruction & Study / Theory. _2bisacsh _910162 |
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| 655 | 4 |
_aElectronic books. _93907 |
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| 776 | 0 | 8 |
_iPrint version: _aRose, Stephen _tMusical Authorship from Sch�utz to Bach _dCambridge : Cambridge University Press,c2019 _z9781108421072 |
| 830 | 0 |
_aMusical performance and reception. _911805 |
|
| 856 | 4 | 0 |
_3EBSCOhost _uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2112070 |
| 938 |
_aEBL - Ebook Library _bEBLB _nEBL5780805 |
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| 938 |
_aEBSCOhost _bEBSC _n2112070 |
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| 994 |
_a92 _bN$T |
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| 999 |
_c7119 _d7119 |
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