Covers the Italian Baroque period (1600-1730). Borgir rejects the notion that the basso continuo line is doubled by bass instruments and shows how these have an independent musical function in ensemble music. He untangles their confusing terminology and also explores the unexpected uses of the large lutes. Italian continuo practice included elaborate training in improvisation described in detail here for the first time. Tharald Borgir is professor emeritus in the music department at Oregon State University and an accomplished pianist.
Covers the Italian Baroque period (1600-1730). Borgir rejects the notion that the basso continuo line is doubled by bass instruments and shows how these have an independent musical function in ensemble music. He untangles their confusing terminology and also explores the unexpected uses of the large lutes. Italian continuo practice included elaborate training in improvisation described in detail here for the first time. Tharald Borgir is professor emeritus in the music department at Oregon State University and an accomplished pianist.
Acknowledgments Introduction Part One: Bass-Line Doubling in Italian Baroque Music 1. Bass-Line Doubling in Italian Baroque Music: A Practice Yet to be Justified 2. The Origin of the Basso Continuo 3. The Church Sonata 4. Bass-Line Doubling in Opera and Oratorio 5. Secular Vocal Music 6. Sacred Vocal Music 7. Bass and Basso Continuo in Secular Instrumental Music: Either, Or, or Both? 8. Conclusion to Part One Part Two: The Bowed Bass Instruments Introduction to Part Two: Problems of Terminology 9. The Term "Violone" 10. The Bass Violin Part Three: The Extended Lutes 11. The Instruments 12. The Extended Lutes in Italian Baroque Music 13. The Extended Lutes as Bass-Line Instruments 14. The Extended Lutes as Double Bass Instruments 15. Ornamentation on Extended Lutes 16. Conclusion to Part Three Part Four: The Realization of the Continuo Bass 17. The Early Seventeenth Century 18. Sources and Approaches after 1650 19. Neapolitan Continuo Practice: The Partimenti 20. Written-Out Keyboard Parts 21. Eighteenth-Century Continuo Realizations: Selected Issues Bibliography Index
Acknowledgments Introduction Part One: Bass-Line Doubling in Italian Baroque Music 1. Bass-Line Doubling in Italian Baroque Music: A Practice Yet to be Justified 2. The Origin of the Basso Continuo 3. The Church Sonata 4. Bass-Line Doubling in Opera and Oratorio 5. Secular Vocal Music 6. Sacred Vocal Music 7. Bass and Basso Continuo in Secular Instrumental Music: Either, Or, or Both? 8. Conclusion to Part One Part Two: The Bowed Bass Instruments Introduction to Part Two: Problems of Terminology 9. The Term "Violone" 10. The Bass Violin Part Three: The Extended Lutes 11. The Instruments 12. The Extended Lutes in Italian Baroque Music 13. The Extended Lutes as Bass-Line Instruments 14. The Extended Lutes as Double Bass Instruments 15. Ornamentation on Extended Lutes 16. Conclusion to Part Three Part Four: The Realization of the Continuo Bass 17. The Early Seventeenth Century 18. Sources and Approaches after 1650 19. Neapolitan Continuo Practice: The Partimenti 20. Written-Out Keyboard Parts 21. Eighteenth-Century Continuo Realizations: Selected Issues Bibliography Index
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