UID:
kobvindex_HPB1312173559
Format:
1 online resource (336 pages).
ISBN:
9783631826287
,
3631826281
Series Statement:
Ars Musica. Interdisziplinaere Studien Ser. ; v. 7
Content:
This book is the first integral study of the imitative art that has led to the creation of cello transcriptions and arrangements. It has an interdisciplinary character and covers issues related to philosophy, history of aesthetics and the art of cello making, as well as the fine arts, including iconography.
Note:
3.5.2. Hybrids and conversions.
,
Cover -- Introduction -- Chapter 1: Mimesis 1 -- general issues -- 1.1. Mimesis and the art of music -- 1.2. Periodisation of the evolution of mimetic cello performance -- Chapter 2: The Renaissance and the Baroque: the first evidence of the cello, the instrument's design and the earliest mimetic cello repertoire -- terminology, iconography -- 2.1. Mimesis and Renaissance instruments -- 2.2. Renaissance instruments and the design of the cello -- 2.4. Italian masters of the cello -- 2.5. Cello making schools, cello makers and extant instruments
,
2.5.1. The beginnings of cello making -- 2.5.2. The art of cello making in Cremona -- 2.5.3. Other cello making centres in Italy -- 2.5.4. The cello in the Commonwealth of Poland-Lithuania and in Royal Prussia: hypotheses and views -- 2.5.5. The design of a Baroque cello and bow -- 2.6. Cello terminology in documents and treatises -- 2.6.1. Cello nomenclature in Europe -- 2.6.2. Cello nomenclature in Poland -- 2.7. The depiction of the cello in European art of the sixteenth and seventeenth centuries -- 2.7.1. Iconography as a source of knowledge about the cello
,
2.7.2. The cello in Italian painting -- 2.7.3. Representations of the cello in Flemish art -- 2.7.4. Paintings depicting the cello in Dutch art 204 -- 2.7.5. The earliest traces of the cello in other European countries -- 2.7.6. Summary -- 2.7.7. Drawing, painting and sculpture with the cello and hybrid instruments in Poland -- 2.7.8. Sacred painting and sculpture depicting a cello -- Chapter 3: The late Baroque, cello transcriptions and arrangements after 1687 -- 3.1. The cello as an alternative instrument -- 3.1.1. General issues -- 3.1.2. The cello and the viola da gamba
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3.1.3. Artistic transcription, self-transcription and polyversions for solo cello -- 3.2. Cellists active in Europe from 1688 to 1750 -- 3.3. The art of cello making after 1687 -- 3.3.1. Cello making in Europe -- 3.3.2. The art of cello making in Cremona -- 3.3.3. The art of cello making in Brescia and Bologna -- 3.3.5. The art of cello making in Venice -- 3.3.6. The art of cello making in Rome -- 3.3.7. Other Italian centres for cello making -- 3.3.8. European cello makers active outside Italy -- 3.3.9. Design changes and conversions of cellos and bows after 1700
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3.4. The European expansion of the cello, as documented in art from the turn of the eighteenth century -- 3.4.1. Baroque and Rococo iconography with a cello motif -- introduction -- 3.4.2. Depictions of the cello in Italian art -- 3.4.3. Paintings and drawings with cellos in British, Austrian and Germany art -- 3.4.4. Iconography with a cello motif in Flemish and Dutch art -- 3.4.5. Depictions of the cello in French and Spanish art -- 3.4.6. Sacred sculpture with depictions of a cello in Poland -- 3.5. The form of musical instruments called violoncello and their repertoire -- 3.5.1. Introduction
Additional Edition:
Print version: Burzynski, Jan. Mimetic Strand in the Cello Literature. Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, ©2020 ISBN 9783631806142
Language:
English
