The mimetic strand in the cello literature: within the context of history, instrument design, iconography and cello performance
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Weitere beteiligte Personen: | |
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Berlin ; Bern ; Bruxelles
Peter Lang
[2020]
|
| Schriftenreihe: | Ars musica
volume 7 |
| Schlagwörter: | |
| Links: | https://directory.doabooks.org/handle/20.500.12854/74509 https://doi.org/10.3726/b17205 http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032620756&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| Umfang: | 331 Seiten Illustrationen |
| ISBN: | 9783631806142 |
| DOI: | 10.3726/b17205 |
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| 245 | 1 | 0 | |a The mimetic strand in the cello literature |b within the context of history, instrument design, iconography and cello performance |c Urszula Mizia ; translated by John Comber |
| 264 | 1 | |a Berlin ; Bern ; Bruxelles |b Peter Lang |c [2020] | |
| 264 | 4 | |c © 2020 | |
| 300 | |a 331 Seiten |b Illustrationen | ||
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| 653 | |a Urszula | ||
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Datensatz im Suchindex
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| adam_text |
CONTENTS
INTRODUCTION
.
13
CHAPTER
1:
MIMESIS
-
GENERAL
ISSUES
.
17
1.1.
MIMESIS
AND
THE
ART
OF
MUSIC
.
17
1.2.
PERIODISATION
OF
THE
EVOLUTION
OF
MIMETIC
CELLO
PERFORMANCE
.
24
CHAPTER
2:
THE
RENAISSANCE
AND
THE
BAROQUE:
THE
FIRST
EVIDENCE
OF
THE
CELLO,
THE
INSTRUMENT
*
S
DESIGN
AND
THE
EARLIEST
MIMETIC
CELLO
REPERTOIRE;
TERMINOLOGY,
ICONOGRAPHY
.
27
2.1.
MIMESIS
AND
RENAISSANCE
INSTRUMENTS
.
27
2.2.
RENAISSANCE
INSTRUMENTS
AND
THE
DESIGN
OF
THE
CELLO
.
29
2.3.
THE
CELLO
AND
ENSEMBLE
PERFORMANCE
PRACTICE:
PRE
ARRANGEMENT,
PRE-TRANSCRIPTION
AND
SELF-TRANSCRIPTION
.
33
2.4.
ITALIAN
MASTERS
OF
THE
CELLO
.
36
2.5.
CELLO
MAKING
SCHOOLS,
CELLO
MAKERS
AND
EXTANT
INSTRUMENTS
.
39
2.5.1.
THE
BEGINNINGS
OF
CELLO
MAKING
.
39
2.5.2.
THE
ART
OF
CELLO
MAKING
IN
CREMONA
.
41
2.5.3.
OTHER
CELLO
MAKING
CENTRES
IN
ITALY
.
46
2.5.4.
THE
CELLO
IN
THE
COMMONWEALTH
OF
POLAND-
LITHUANIA
AND
IN
ROYAL
PRUSSIA:
HYPOTHESES
AND
VIEWS
.
47
2.5.5.
THE
DESIGN
OF
A
BAROQUE
CELLO
AND
BOW
.
51
2.6.
CELLO
TERMINOLOGY
IN
DOCUMENTS
AND
TREATISES
.
56
2.6.1.
CELLO
NOMENCLATURE
IN
EUROPE
.
56
2.6.2.
CELLO
NOMENCLATURE
IN
POLAND
.
58
6
CONTENTS
2.7.
THE
DEPICTION
OF
THE
CELLO
IN
EUROPEAN
ART
OF
THE
SIXTEENTH
AND
SEVENTEENTH
CENTURIES
.
63
2.7.1.
ICONOGRAPHY
AS
A
SOURCE
OF
KNOWLEDGE
ABOUT
THE
CELLO
.
63
2.7.2.
THE
CELLO
IN
ITALIAN
PAINTING
.
63
2.7.3.
REPRESENTATIONS
OF
THE
CELLO
IN
FLEMISH
ART
.
67
2.7.4.
PAINTINGS
DEPICTING
THE
CELLO
IN
DUTCH
ART
.
69
2.7.5.
THE
EARLIEST
TRACES
OF
THE
CELLO
IN
OTHER
EUROPEAN
COUNTRIES
.
78
2.7.6.
SUMMARY
.
81
2.7.7.
DRAWING,
PAINTING
AND
SCULPTURE
WITH
THE
CELLO
AND
HYBRID
INSTRUMENTS
IN
POLAND
.
82
2.7.8.
SACRED
PAINTING
AND
SCULPTURE
DEPICTING
A
CELLO
.
84
CHAPTER
3:
THE
LATE
BAROQUE,
CELLO
TRANSCRIPTIONS
AND
ARRANGEMENTS
AFTER
1687
.
89
3.1.
THE
CELLO
AS
AN
ALTERNATIVE
INSTRUMENT
.
89
3.1.1.
GENERAL
ISSUES
.
89
3.1.2.
THE
CELLO
AND
THE
VIOLA
DA
GAMBA
.
90
3.1.3.
ARTISTIC
TRANSCRIPTION,
SELF-TRANSCRIPTION
AND
POLYVERSIONS
FOR
SOLO
CELLO
.
93
3.2.
CELLISTS
ACTIVE
IN
EUROPE
FROM
1688
TO
1750
.
94
3.3.
THE
ART
OF
CELLO
MAKING
AFTER
1687
.
102
3.3.1.
CELLO
MAKING
IN
EUROPE
.
102
3.3.2.
THE
ART
OF
CELLO
MAKING
IN
CREMONA
.
103
3.3.3.
THE
ART
OF
CELLO
MAKING
IN
BRESCIA
AND
BOLOGNA
.
107
3.3.4.
THE
ART
OF
CELLO
MAKING
IN
MILAN
.
108
3.3.5.
THE
ART
OF
CELLO
MAKING
IN
VENICE
.
109
3.3.6.
THE
ART
OF
CELLO
MAKING
IN
ROME
.
ILL
3.3.7.
OTHER
ITALIAN
CENTRES
FOR
CELLO
MAKING
.
112
3.3.8.
EUROPEAN
CELLO
MAKERS
ACTIVE
OUTSIDE
ITALY
.
113
3.3.9.
DESIGN
CHANGES
AND
CONVERSIONS
OF
CELLOS
AND
BOWS
AFTER
1700
.
116
CONTENTS
7
3.4.
THE
EUROPEAN
EXPANSION
OF
THE
CELLO,
AS
DOCUMENTED
IN
ART
FROM
THE
TURN
OF
THE
EIGHTEENTH
CENTURY
.
117
3.4.1.
BAROQUE
AND
ROCOCO
ICONOGRAPHY
WITH
A
CELLO
MOTIF
-
INTRODUCTION
.
117
3.4.2.
DEPICTIONS
OF
THE
CELLO
IN
ITALIAN
ART
.
118
3.4.3.
PAINTINGS
AND
DRAWINGS
WITH
CELLOS
IN
BRITISH,
AUSTRIAN
AND
GERMANY
ART
.
119
3.4.4.
ICONOGRAPHY
WITH
A
CELLO
MOTIF
IN
FLEMISH
AND
DUTCH
ART
.
122
3.4.5.
DEPICTIONS
OF
THE
CELLO
IN
FRENCH
AND
SPANISH
ART
.
124
3.4.6.
SACRED
SCULPTURE
WITH
DEPICTIONS
OF
A
CELLO
IN
POLAND
.
126
3.5.
THE
FORM
OF
MUSICAL
INSTRUMENTS
CALLED
VIOLONCELLO
AND
THEIR
REPERTOIRE
.
128
3.5.1.
INTRODUCTION
.
128
3.5.2.
HYBRIDS
AND
CONVERSIONS
.
129
3.5.3.
REPERTOIRE
FOR
THE
VIOLA
DA
GAMBA
OR
CELLO
-
SELECTED
CONCEPTS
RELATING
TO
THE
ORIGINAL
INSTRUMENTS
.
130
3.5.4.
VIOLONCELLO
PICCOLO
.
132
3.5.5.
HISTORICAL
BAROQUE
CELLOS
.
135
3.5.6.
VIOLA
DA
SPALLA,
HYBRIDS
AND
VIOLONCELLO
PICCOLO
IN
ICONOGRAPHY
.
136
CHAPTER
4:
CLASSICISM
AND
THE
MIMESIS
AESTHETIC,
MIMETIC
MUSICAL
FORMS,
THE
CLASSICAL
CELLO
OF
THE
YEARS
1750-
1815/20
.
139
4.1
THE
AESTHETIC
CATEGORY
OF
MIMESIS
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
139
4.2.
ARRANGEMENTS
AND
TRANSCRIPTIONS
IN
CLASSICAL
MUSICAL
FORMS
.
140
4.2.1.
CLASSICAL
VARIATIONS
.
140
4.2.2.
CLASSICAL
SONATAS,
SELF-TRANSCRIPTIONS
AND
POLYVERSIONS
.
141
8
CONTENTS
4.2.3.
VIRTUOSIC
CADENZAS
IN
CELLO
CONCERTOS
.
142
4.2.4
THE
COMPASS
OF
CLASSICAL
WORKS
FOR
CELLO
WITHIN
THE
CONTEXT
OF
THE
ORIGINAL
INSTRUMENTS,
PERFORMANCE
PRACTICE
AND
ICONOGRAPHY
.
143
4.2.5.
EDITIONS
AND
ARRANGEMENTS
OF
CLASSICAL
WORKS,
TAKING
AS
AN
EXAMPLE
JEAN-BAPTISTE
BREVALS
SONATA
NO.
5
IN
G
MAJOR,
OP.
12
.
145
4.2.6.
CONTEMPORARY
VIEWS
ON
TRANSCRIPTIONS
AND
ARRANGEMENTS
OF
WORKS
BY
LUIGI
BOCCHERINI
.
148
4.3.
CLASSICAL
VIOLIN
MAKERS
AND
THEIR
CELLOS
.
155
4.3.1.
INNOVATIONS
IN
CELLO
DESIGN
1750-1815
.
155
4.3.2.
THE
ITALIAN
ART
OF
CELLO
MAKING
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
156
4.3.3.
THE
ART
OF
CELLO
MAKING
IN
BRITAIN
AND
FRANCE
.
159
4.3.4.
OTHER
CENTRES
OF
CELLO
MAKING
.
160
4.4.
EUROPEAN
ICONOGRAPHY
FEATURING
THE
CELLO
DURING
THE
CLASSICAL
ERA
.
161
4.4.1.
CHANGES
TO
THE
IMAGE
OF
THE
CELLO
DURING
THE
SECOND
HALF
OF
THE
EIGHTEENTH
CENTURY
.
161
4.4.2.
ITALIAN
AND
BRITISH
ART
FEATURING
THE
CELLO
.
162
4.4.3.
FRENCH
PAINTINGS
WITH
CELLOS
.
163
4.4.4.
GERMAN,
FLEMISH
AND
SWEDISH
ART
WITH
CELLOS
.
165
4.4.5.
SUMMARY
.
166
4.5.
THE
EVOLUTION
OF
CELLO
DESIGN
FROM
THE
BAROQUE
TO
THE
CLASSICAL
ERA
.
166
4.6.
OBTAINING
APPROXIMATE
DIMENSIONS
OF
NECKS
AND
FINGERBOARDS
OF
BAROQUE
AND
CLASSICAL
CELLOS
FROM
PHOTOGRAPHIC
DOCUMENTATION
.
168
4.7.
THE
COMPASS
OF
WORKS
FOR
CELLO
AND
THE
INSTRUMENT
*
S
ACTUAL
PERFORMANCE
CAPACITIES
.
174
4.8.
THE
VIEWS
OF
CONTEMPORARY
CELLISTS
ON
ORIGINAL
INSTRUMENTS
AND
THE
PERIOD
PERFORMANCE
OF
CLASSICAL
WORKS
.
175
4.9.
BETWEEN
CLASSICISM
AND
ROMANTICISM
.
176
CONTENTS
9
CHAPTER
5:
THE
ART
OF
CELLO
TRANSCRIPTION
AND
ARRANGEMENT
DURING
THE
ROMANTIC
ERA
.
183
5.1.
THE
MIMETIC
STRAND
AND
CELLO
PERFORMANCE
IN
THE
NINETEENTH
CENTURY
.
183
5.2.
IHE
ART
OF
CELLO
TRANSCRIPTION
AND
ARRANGEMENT
AFTER
1815/20
.
187
5.2.1.
ROMANTIC
VARIATIONS,
FANTASIES,
POTPOURRIS,
TRANSCRIPTIONS
AND
PARAPHRASES
.
187
5.2.2.
THE
ROMANTIC
LITERAL
TRANSCRIPTION
OF
A
CYCLIC
FORM:
FRANZ
SCHUBERT
*
S
SONATA
IN
A
MINOR,
D
821
FOR ARPEGGIONE
AND
PIANO
.
190
5.3.
CELLISTS
IN
THE
ENTOURAGE
OF
FRYDERYK
CHOPIN
(1810-1849)
AND
CELLO
TRANSCRIPTIONS
OF
HIS
WORKS
.
191
5.4.
A
NEW
PROFESSION:
THE
CELLIST
TRANSCRIBER
AND
ARRANGER
.
197
5.4.1.
FRIEDRICH
LUDWIG
GRIITZMACHER
(1832-1903)
AS
A
TRANSCRIBER
.
197
5.4.2.
OTHER
TRANSCRIBERS
OF
THE
GERMAN
SCHOOL
.
202
5.4.3.
TRANSCRIBERS
OF
THE
FRENCH
AND
RUSSIAN
SCHOOLS
.
206
5.4.4.
OTHER
EUROPEAN
TRANSCRIBERS
.
209
5.4.5.
ARRANGERS
OF
WORKS
FOR
CELLO
.
212
5.5.
THE
OUTPUT
OF
POLISH
COMPOSERS
IN
TRANSCRIPTIONS
.
214
5.6.
THE
POPULARISATION
OF
THE
CELLO
IN
POLAND,
TRANSCRIPTIONS,
ARRANGEMENTS
AND
POLYVERSIONS
.
216
5.7.
VIRTUOSIC
CADENZAS
.
219
5.8.
COMPOSERS
AND
THEIR
SELF-TRANSCRIPTIONS
.
224
CHAPTER
6:
THE
CELLO
AND
THE
MIMETIC
CURRENT
IN
THE
TWENTIETH
AND
THE
TWENTY-FIRST
CENTURIES
.
227
6.1.
NEW
TRENDS
IN
MUSIC
AND
CELLO
TRANSCRIPTION
.
227
6.2.
CELLO
ARRANGEMENTS
AND
TRANSCRIPTIONS
AND
THEIR
COMPOSERS
IN
THE TWENTIETH
AND
TWENTY-FIRST
CENTURIES
.
228
6.2.1.
EUROPEAN
CELLIST-TRANSCRIBERS
.
228
10
CONTENTS
6.2.2.
CELLO
TRANSCRIPTION
IN
POLAND
.
233
6.3.
THE
MIMETIC
ART
AND
AESTHETIC,
ETHICAL
AND
LEGAL
ISSUES
.
237
APPENDIX
I:
THEORY
.
243
1.
THE
ETYMOLOGY
AND
MEANING
OF
THE
WORD
TRANSCRIPTION;
DEFINITIONS
AND
RELATED
TERMS;
DEFINITION
OF
CELLO
TRANSCRIPTION
.
243
2.
A
SYSTEMATICS
OF
CELLO
TRANSCRIPTIONS
WITH
EXAMPLES
.
245
2.1.
THE
CLASSIFICATION
OF
CELLO
TRANSCRIPTIONS
IN
TERMS
OF
THE
DEGREE
TO
WHICH
THE
ORIGINAL
IS
PRESERVED
.
245
2.1.1.
FAITHFUL
CELLO
TRANSCRIPTIONS:
SUBSTANTIAL,
NATURAL,
LITERAL
.
245
2.1.2.
STRUCTURAL
CELLO
TRANSCRIPTIONS
.
246
2.1.3.
SYNTACTIC
CELLO
TRANSCRIPTIONS
.
247
2.1.4.
RECONTEXTUAL
CELLO
TRANSCRIPTIONS
.
248
2.1.5.
FUNCTIONAL
CELLO
TRANSCRIPTIONS
.
248
2.2.
THE
CLASSIFICATION
OF
CELLO
TRANSCRIPTIONS
ACCORDING
TO
ORIGINAL
FORCES
.
255
2.2.1.
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
OF
THEIR
REPERTOIRE
.
255
2.2.2.
STRUCK
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
FROM
THEIR
REPERTOIRE
.
259
2.2.3.
PLUCKED
STRING
INSTRUMENTS
AND
TRANSCRIPTIONS
FROM
THEIR
REPERTOIRE
.
260
2.2.4.
WOODWIND
AND
BRASS
INSTRUMENTS
AND
TRANSCRIPTIONS
OF
THEIR
REPERTOIRE
.
261
2.2.5.
CELLO
TRANSCRIPTIONS
OF
VOCAL
WORKS
.
264
APPENDIX
II:
CONCERT
TRANSCRIPTIONS
FOR
CELLO.
DESCRIPTION
OF
THE
WORKS
RECORDED
ON
THE
CD
.
269
CONCERT
TRANSCRIPTIONS
FOR
CELLO
.
285
CONTENTS
11
BIBLIOGRAPHY
.
287
SUMMARY
.
307
ABOUT
THE
AUTHOR
.
309
INDEX
.
311 |
| any_adam_object | 1 |
| author | Mizia, Urszula |
| author2 | Comber, John 1968- |
| author2_role | trl |
| author2_variant | j c jc |
| author_GND | (DE-588)1224843983 (DE-588)1096364166 |
| author_facet | Mizia, Urszula Comber, John 1968- |
| author_role | aut |
| author_sort | Mizia, Urszula |
| author_variant | u m um |
| building | Verbundindex |
| bvnumber | BV047216037 |
| collection | ZDB-94-OAB |
| ctrlnum | (OCoLC)1190682862 (DE-599)DNB1215775695 |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.3726/b17205 |
| format | Book |
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| id | DE-604.BV047216037 |
| illustrated | Illustrated |
| indexdate | 2025-01-23T23:01:47Z |
| institution | BVB |
| institution_GND | (DE-588)1065711506 |
| isbn | 9783631806142 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032620756 |
| oclc_num | 1190682862 |
| open_access_boolean | 1 |
| owner | DE-12 DE-210 DE-521 DE-1102 DE-1046 DE-1028 DE-1050 DE-573 DE-M347 DE-92 DE-1051 DE-898 DE-BY-UBR DE-859 DE-860 DE-1049 DE-861 DE-863 DE-BY-FWS DE-862 DE-BY-FWS DE-Re13 DE-BY-UBR DE-Y3 DE-255 DE-Y7 DE-Y2 DE-70 DE-2174 DE-127 DE-22 DE-BY-UBG DE-155 DE-BY-UBR DE-91 DE-BY-TUM DE-384 DE-473 DE-BY-UBG DE-19 DE-BY-UBM DE-355 DE-BY-UBR DE-703 DE-20 DE-706 DE-824 DE-29 DE-739 |
| owner_facet | DE-12 DE-210 DE-521 DE-1102 DE-1046 DE-1028 DE-1050 DE-573 DE-M347 DE-92 DE-1051 DE-898 DE-BY-UBR DE-859 DE-860 DE-1049 DE-861 DE-863 DE-BY-FWS DE-862 DE-BY-FWS DE-Re13 DE-BY-UBR DE-Y3 DE-255 DE-Y7 DE-Y2 DE-70 DE-2174 DE-127 DE-22 DE-BY-UBG DE-155 DE-BY-UBR DE-91 DE-BY-TUM DE-384 DE-473 DE-BY-UBG DE-19 DE-BY-UBM DE-355 DE-BY-UBR DE-703 DE-20 DE-706 DE-824 DE-29 DE-739 |
| physical | 331 Seiten Illustrationen |
| psigel | ZDB-94-OAB BSB_NED_20210415 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Peter Lang |
| record_format | marc |
| series | Ars musica |
| series2 | Ars musica |
| spellingShingle | Mizia, Urszula The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Ars musica Arrangement (DE-588)4285138-5 gnd Mimesis (DE-588)4039392-6 gnd Violoncello (DE-588)4063584-3 gnd |
| subject_GND | (DE-588)4285138-5 (DE-588)4039392-6 (DE-588)4063584-3 |
| title | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance |
| title_auth | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance |
| title_exact_search | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance |
| title_full | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Urszula Mizia ; translated by John Comber |
| title_fullStr | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Urszula Mizia ; translated by John Comber |
| title_full_unstemmed | The mimetic strand in the cello literature within the context of history, instrument design, iconography and cello performance Urszula Mizia ; translated by John Comber |
| title_short | The mimetic strand in the cello literature |
| title_sort | the mimetic strand in the cello literature within the context of history instrument design iconography and cello performance |
| title_sub | within the context of history, instrument design, iconography and cello performance |
| topic | Arrangement (DE-588)4285138-5 gnd Mimesis (DE-588)4039392-6 gnd Violoncello (DE-588)4063584-3 gnd |
| topic_facet | Arrangement Mimesis Violoncello |
| url | https://directory.doabooks.org/handle/20.500.12854/74509 https://doi.org/10.3726/b17205 http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032620756&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV039148438 |
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