This is the first English translation of Johann Friedrich Daube's Musical Dilettante: A Treatise on Composition (Vienna, 1773). Written as a practical, comprehensive guide for aristocratic dilettantes wishing to compose instrumental chamber music for their social entertainment, the treatise covers genres from duets to double fugues, and includes the earliest instruction in string quartets and idiomatic orchestration of symphonies. Daube's Musical Dilettante has long been overlooked due to his better-known Thorough-Bass in Three Chords (1756). Nevertheless, Musical Dilettante is the keystone of Daube's theoretical writing, and offers the most comprehensive view of galant composition available in a single volume. The signature of Musical Dilettante is its unique textural emphasis and Daube's examples sparkle with concertante interplay, conversational part-writing, and idiomatic instrumentation. The volume includes an introduction to Daube's life and theoretical works and a bibliography. It will be of interest to students and scholars as well as performers.
This is a comprehensive assortment of essential exercises and etudes that will prepare students for the many technical problems that may occur in Level 4 repertoire. Illustrations and explanations help students understand and master each aspect of the technic as it is presented.
When Latin Americans think of high art they do so primarily in terms of literature and the visual arts. In addition, the study of the first three centuries has until recently taken the back seat in the standard literature dealing with the music of that part of the world. This trend must be reversed for the lands south of the border to arrive at a broader understanding of their place in the world culture. This book attempts to redress the situation by providing the curious layman and the serious researcher with the tools to further clarify the role of cultivated music in the early life of the Ibero-American countries. It surveys the available historical data on personalities, events, and institutions that shaped the history of art music in Ibero-America (that is, its Spanish-speaking countries and Brazil) between the arrival of the Europeans in 1492 and 1850. This study of Music and Music Activities in Ibero-America to 1850 emphasizes historical data rather than musical analysis. Folk and popular music are mentioned only to the extent that they have affected the cultivated strains of Ibero-American music. Of interest to music historians and students of Ibero-American culture.
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