ISBN: 9780521037044 - modern invention of medieval music: scholarship, ideology, performance (musical performance and reception) (10 Ergebnisse)

Paperback. Zustand: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Zustand: New.

Paperback. Zustand: New. Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes.…

Zustand: New.

Zustand: As New. Unread book in perfect condition.

Zustand: New. A challenging book which questions how much is really known about the way medieval music sounded. Series: Musical Performance and Reception. Num Pages: 348 pages, 1 b/w illus. 5 music examples. BIC Classification: AVGC2; AVS. Category: (G) General (US: Trade); (P) Professional & Vocational. Dimension: 155 x 230 x 21. Weight in Grams: 562. . 2008. 1st Edition. Paperback. . . . . Books ship from the US and Ireland. …

Zustand: New. A challenging book which questions how much is really known about the way medieval music sounded. Series: Musical Performance and Reception. Num Pages: 348 pages, 1 b/w illus. 5 music examples. BIC Classification: AVGC2; AVS. Category: (G) General (US: Trade); (P) Professional & Vocational. Dimension: 155 x 230 x 21. Weight in Grams: 562. . 2008. 1st Edition. Paperback. . . . . …

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective And what can we learn from them about the way we interact with the past How much is really known about the way medieval music sounded Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes.…

Paperback. Zustand: New. Medieval music has been made and remade over the past two hundred years. For the nineteenth century it was vocal, without instrumental accompaniment, but with barbarous harmony that no one could have wished to hear. For most of the twentieth century it was instrumentally accompanied, increasingly colourful and increasingly enjoyed. At the height of its popularity it sustained an industry of players and instrument makers, all engaged in recreating an apparently medieval performance practice. During the 1980s it became vocal once more, exchanging colour and contrast for cleanliness and beauty. But what happens to produce such radical changes of perspective? And what can we learn from them about the way we interact with the past? How much is really known about the way medieval music sounded? Or have modern beliefs been formed and sustained less by evidence than the personalities of scholars and performers, their ideologies and their musical tastes.…