9780521818704 - The Modern Invention of Medieval Music: Scholarship, Ideology, Performance (Musical Performance and Reception) von Daniel Leech-Wilkinson (6 Ergebnisse)

Hardcover. Zustand: Very Good. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance (Musical Performance and Reception) This book is in very good condition and will be shipped within 24 hours of ordering. The cover may have some limited signs of wear but the pages are clean, intact and the spine remains undamaged. This book has clearly been well maintained and looked after thus far. Money back guarantee if you are not satisfied. See all our books here, order more than 1 book and get discounted shipping.

Hardcover. Zustand: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

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Zustand: fine. l'article peut presenter de tres legers signes d'usure, petites rayures ou imperfections esthetiques. vendeur professionnel; envoi soigne en 24/48h.

Zustand: New. A challenging book which questions how much is really known about the way medieval music sounded. Series Editor(s): Butt, John; Dreyfus, Laurence. Series: Musical Performance and Reception. Num Pages: 348 pages, 1 b/w illus. 5 music examples. BIC Classification: AVGC2. Category: (G) General (US: Trade); (P) Professional & Vocational. Dimension: 160 x 231 x 29. Weight in Grams: 680. . 2002. First Edition. hardcover. . . . . Books ship from the US and Ireland.

Buch. 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.