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Editorial Reviews
From Library Journal
Happily for aficionados of French music of the 17th and 18th centuries, Anthony has revised and expanded his 1974 classic. Incorporating much of the recent voluminous scholarship on this subject, he has added nearly 100 pages of text and 800 new bibliographic entries. The format remains the same; the book is still genre-based, beginning with stage music and then proceeding to religious music, two chapters on instrumental music, and a concluding chapter on vocal chamber music. The musical examples scattered throughout have not increased in number from the earlier edition, which is unfortunate because some of the new material could benefit from illustration. A few sections, such as the ones on solo viol repertory and unmeasured keyboard preludes, seem comparatively skimpy. These quibbles aside, the book is still is excellent encyclopedic source and is essential for all major music collections.?Larry A. Lipkis, Moravian Coll., Bethlehem, Pa.
Copyright 1997 Reed Business Information, Inc.
Product Description
James R. Anthony's French Baroque Music, originally published in 1974, was the first definitive study of French music of the Baroque era and remains the only comprehensive survey of the vast musical output of 17th and 18th-century France. Completely revised and expanded, this new edition incorporates research of the past two decades and includes a wealth of quotations from early writers on the subject. As in the previous English language editions of 1974 and 1978 (and in the French editions of 1981 and 1992), the book provides an overview of French music of the period. Anthony explores music of the stage and of the altar and includes chapters on music for lute, guitar, and keyboard; instrumental music; and vocal chamber music. A revised author's preface considers the present state of research in the area of French Baroque music. Finally, a new and expanded index and an updated bibliography listing more than 1,300 works make this book a superb resource for scholars as well as laymen.
Happily for aficionados of French music of the 17th and 18th centuries, Anthony has revised and expanded his 1974 classic. Incorporating much of the recent voluminous scholarship on this subject, he has added nearly 100 pages of text and 800 new bibliographic entries. The format remains the same; the book is still genre-based, beginning with stage music and then proceeding to religious music, two chapters on instrumental music, and a concluding chapter on vocal chamber music. The musical examples scattered throughout have not increased in number from the earlier edition, which is unfortunate because some of the new material could benefit from illustration. A few sections, such as the ones on solo viol repertory and unmeasured keyboard preludes, seem comparatively skimpy. These quibbles aside, the book is still is excellent encyclopedic source and is essential for all major music collections.?Larry A. Lipkis, Moravian Coll., Bethlehem, Pa.
Copyright 1997 Reed Business Information, Inc.
Product Description
James R. Anthony's French Baroque Music, originally published in 1974, was the first definitive study of French music of the Baroque era and remains the only comprehensive survey of the vast musical output of 17th and 18th-century France. Completely revised and expanded, this new edition incorporates research of the past two decades and includes a wealth of quotations from early writers on the subject. As in the previous English language editions of 1974 and 1978 (and in the French editions of 1981 and 1992), the book provides an overview of French music of the period. Anthony explores music of the stage and of the altar and includes chapters on music for lute, guitar, and keyboard; instrumental music; and vocal chamber music. A revised author's preface considers the present state of research in the area of French Baroque music. Finally, a new and expanded index and an updated bibliography listing more than 1,300 works make this book a superb resource for scholars as well as laymen.
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fair theaters, Comédie Française, keyboard instruments, binary air, affective intervals, petits motets, capo airs, monologue air, petit choeur, lute repertory, optional dances, popular noels, grand motet, descriptive symphonies, petit motet, trio texture, titled dances, grands motets, des hautbois, court ballets, two viols, dialogue airs, lute pieces, harmonic audacities, style brisé Key Phrases - Capitalized Phrases (CAPs): (learn more)
Royal Chapel, Concert Spirituel, Les Fêtes, Paris Opera, François Couperin, French Baroque, Bibliothèque Nationale, Louis Couperin, Académie Royale de Musique, Robert Ballard, Michel Lambert, Pierre Ballard, Michel Corrette, Grand Siècle, Palais Royal, Antoine Boesset, Michel de Pure, André Campra, Elisabeth-Claude Jacquet de la Guerre, Great Stable, Andre Campra, Colin de Blamont, Opéra Comique, Louis Marchand, Mme de Maintenon Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
fair theaters, Comédie Française, keyboard instruments, binary air, affective intervals, petits motets, capo airs, monologue air, petit choeur, lute repertory, optional dances, popular noels, grand motet, descriptive symphonies, petit motet, trio texture, titled dances, grands motets, des hautbois, court ballets, two viols, dialogue airs, lute pieces, harmonic audacities, style brisé Key Phrases - Capitalized Phrases (CAPs): (learn more)
Royal Chapel, Concert Spirituel, Les Fêtes, Paris Opera, François Couperin, French Baroque, Bibliothèque Nationale, Louis Couperin, Académie Royale de Musique, Robert Ballard, Michel Lambert, Pierre Ballard, Michel Corrette, Grand Siècle, Palais Royal, Antoine Boesset, Michel de Pure, André Campra, Elisabeth-Claude Jacquet de la Guerre, Great Stable, Andre Campra, Colin de Blamont, Opéra Comique, Louis Marchand, Mme de Maintenon Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Index | Back Flap | Back Cover | Surprise Me!
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