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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.
Price: $29.99
Pages: 188
Publisher: Boydell & Brewer Inc.
Imprint: University of Rochester Press
Publication Date:
01 March 1991
Trim Size: 9.00 X 6.00 in
ISBN: 9780835719124
Format: Paperback
BISACs:
MUSIC / History & Criticism, History of music, MUSIC / Musical Instruments / Strings, HISTORY / Europe / Western, Music reviews and criticism, String instruments
. . . a major reconsideration of the sound of 17th-century Italian music .
Acknowledgments
Introduction
Part One: Bass-Line Doubling in Italian Baroque Music
1. Bass-Line Doubling in Italian Baroque Music: A Practice Yet to be Justified
2. The Origin of the Basso Continuo
3. The Church Sonata
4. Bass-Line Doubling in Opera and Oratorio
5. Secular Vocal Music
6. Sacred Vocal Music
7. Bass and Basso Continuo in Secular Instrumental Music: Either, Or, or Both?
8. Conclusion to Part One
Part Two: The Bowed Bass Instruments
Introduction to Part Two: Problems of Terminology
9. The Term "Violone"
10. The Bass Violin
Part Three: The Extended Lutes
11. The Instruments
12. The Extended Lutes in Italian Baroque Music
13. The Extended Lutes as Bass-Line Instruments
14. The Extended Lutes as Double Bass Instruments
15. Ornamentation on Extended Lutes
16. Conclusion to Part Three
Part Four: The Realization of the Continuo Bass
17. The Early Seventeenth Century
18. Sources and Approaches after 1650
19. Neapolitan Continuo Practice: The Partimenti
20. Written-Out Keyboard Parts
21. Eighteenth-Century Continuo Realizations: Selected Issues
Bibliography
Index
Introduction
Part One: Bass-Line Doubling in Italian Baroque Music
1. Bass-Line Doubling in Italian Baroque Music: A Practice Yet to be Justified
2. The Origin of the Basso Continuo
3. The Church Sonata
4. Bass-Line Doubling in Opera and Oratorio
5. Secular Vocal Music
6. Sacred Vocal Music
7. Bass and Basso Continuo in Secular Instrumental Music: Either, Or, or Both?
8. Conclusion to Part One
Part Two: The Bowed Bass Instruments
Introduction to Part Two: Problems of Terminology
9. The Term "Violone"
10. The Bass Violin
Part Three: The Extended Lutes
11. The Instruments
12. The Extended Lutes in Italian Baroque Music
13. The Extended Lutes as Bass-Line Instruments
14. The Extended Lutes as Double Bass Instruments
15. Ornamentation on Extended Lutes
16. Conclusion to Part Three
Part Four: The Realization of the Continuo Bass
17. The Early Seventeenth Century
18. Sources and Approaches after 1650
19. Neapolitan Continuo Practice: The Partimenti
20. Written-Out Keyboard Parts
21. Eighteenth-Century Continuo Realizations: Selected Issues
Bibliography
Index