Orlando di Lasso's Imitation Magnificats for Counter-Reformation Munich
Regular price
€127.99
14 days return policy
Shipping & Delivery
A01=David Crook
Age Group_Uncategorized
Age Group_Uncategorized
Alger Hiss
Asylum in the United States
Author_David Crook
Authoritarian democracy
automatic-update
Bavarian State Library
Border Force
By-law
Canticle
Cantiones sacrae (Gesualdo)
Cantiones sacrae (Schutz)
Cantus firmus
Category1=Non-Fiction
Category=AVC
Category=AVM
Chanson
Cipriano de Rore
Commonwealth of Independent States
Composer
COP=United States
Counter-Reformation
Criticism
Defection
Delivery_Pre-order
Die Zeit
Directive (European Union)
Disinformation
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Ethnic conflict
FAPSI
Gebrauchsmusik
Giovanni Gabrieli
Giovanni Maria Nanino
Giovanni Pierluigi da Palestrina
Government of Ukraine
Gustave Reese
Harold Bloom
Holy Roman Emperor
House of Wittelsbach
Imitation
Intonation (music)
Johann Sebastian Bach
Josquin des Prez
Julia Kristeva
Kingdom of Bavaria
Language_English
Luca Marenzio
Magnificat
Mattheus Le Maistre
Maximilian I
Melodic (magazine)
Missa Papae Marcelli
Motet
Munich Residenz
Music history
Nazi concentration camps
Nicholas Ludford
Nikolai Bukharin
Objection (Tango)
Omsk
Operation Barbarossa
Orazio Vecchi
PA=Temporarily unavailable
Parody
Preface
Preface (liturgy)
Price_€100 and above
PS=Active
Psalms
Publishing
Regensburg
Reinterpretation
Renaissance music
Ruggiero (character)
softlaunch
Soviet Union
Sovietization
Stasi
State Duma
Subtext
The Wedding at Cana
Tonus peregrinus
Trade secret
Victimae paschali laudes
Product details
- ISBN 9780691630939
- Weight: 595g
- Dimensions: 152 x 229mm
- Publication Date: 19 Apr 2016
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
After the Mass Ordinary, the Magnificat was the liturgical text most frequently set by Renaissance composers, and Orlando di Lasso's 101 polyphonic settings form the largest and most varied repertory of Magnificats in the history of European music. In the first detailed investigation of this repertory, David Crook focuses on the forty parody or imitation Magnificats, which Lasso based on motets, madrigals, and chansons written by such composers as Josquin and Rore. By examining these Magnificats in their social, historical, and liturgical contexts and in terms of composition theory, Crook opens a new window on the breadth and subtlety of an important composer often harshly judged on his use of preexistent music. Crook places Lasso amidst the Counter-Reformation reforms at the Bavarian court where he composed the Magnificats, and where there emerged a fanatical Marian cult that favored this genre.
In a section on compositional procedure, Crook explains that Lasso abandoned the traditional eight psalm-tone melodies in his imitation Magnificats, considers the new ways he found to represent the tones, and describes how Lasso's experimentation reflected the complex relationship between mode and tone in Renaissance theory and practice. Arguing that Lasso's varied uses of preexistent music defy current definitions of parody technique, Crook, in his final chapter, reveals the imitation Magnificats as vastly more imaginative and innovative than previous characterizations suggest. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
