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Composers at Work: The Craft of Musical Composition 1450-1600 by Owens: New
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Item specifics
- Condition
- Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See all condition definitionsopens in a new window or tab
- Book Title
- Composers at Work: The Craft of Musical Composition 1450-1600
- Publication Date
- 1998-11-19
- Pages
- 368
- ISBN
- 0195129040
- Subject Area
- Music
- Publication Name
- Composers at Work : the Craft of Musical Composition 1450-1600
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 6.1 in
- Subject
- History & Criticism, Instruction & Study / Composition
- Publication Year
- 1998
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.7 in
- Item Weight
- 17.6 Oz
- Item Width
- 9.2 in
- Number of Pages
- 368 Pages
About this product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0195129040
ISBN-13
9780195129045
eBay Product ID (ePID)
866033
Product Key Features
Number of Pages
368 Pages
Language
English
Publication Name
Composers at Work : the Craft of Musical Composition 1450-1600
Subject
History & Criticism, Instruction & Study / Composition
Publication Year
1998
Type
Textbook
Subject Area
Music
Format
Trade Paperback
Dimensions
Item Height
0.7 in
Item Weight
17.6 Oz
Item Length
6.1 in
Item Width
9.2 in
Additional Product Features
Intended Audience
College Audience
Reviews
"A thoughtful and multi-faceted approach to a problem that has long been amatter of speculation. The astonishing and most original contribution of herstudy is that no evidence has come to light that accomplished composers usedscores for composing. This book will awaken new interest in Renaissancecomposition and should interest all students of Renaissance music."--Bonnie J.Blackburn, Wolfson College, Oxford, "This excellent book is important not only for its general theory but for its illumination of the everyday."--Times Literary Supplement, "Wherever the study of this material leads from here, though, this book,in setting out the problem and beginning to address it, is the essential pointof departure. Rich in its contents, then, Composers at Work is richer still inits implications for future research." --Journal of the American MusicologicalSociety, "Composers at Work justly deserves to be called remarkable, not onlybecause its deductive and intellectual achievements are so very great, but alsobecause it opens a field of research that will be unknown to many readers....Thanks to Owens's painstaking and brilliant evaluation of the evidence, wepossess a clearer understanding of the processes by which [Renaissance]composers built their pieces, section by section and layer by layer.... As astudy of technical procedure, [this book] is a triumph, and it must be requiredreading for anyone with an interest in Renaissance polyphony...."--John Milsom,Notes, "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound newunderstanding of how Renaissance composers understood their art."--Choice, "With Owens's book scholars and students at last have a study concernedwith the creative processes of European composers active at a time of bothprofound stylistic change and remarkable transformations in the manner,material, and uses of written texts....[Owens] provides a profound newunderstanding of how Renaissance composers understood their art."--Choice, " Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom, Notes "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."-- Choice "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "This excellent book is important not only for its general theory but forits illumination of the everyday."--Times Literary Supplement, the most comprehensive and enlightening study of Renaissance musical compostion yet written ... This excellent book is important not only for its general theory but for its illumination of the everyday, "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest inRenaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania, "This is an extremely important book, beautifully executed, and will stand as the study in the field of Renaissance composition for many years to come. It synthesizes all previous work in the area and contributes a vast amount of new material and new interpretations."--M. Jennifer Bloxam,Williams College, "Composers at Workjustly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom,Notes "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."--Choice "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein,University of Pennsylvania "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood,Harvard University "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn,Wolfson College, Oxford, "One of the most important studies in Renaissance musicology in manyyears. A landmark."--Lewis Lockwood, Harvard University, "This is a stunning piece of work which will alter the landscape ofRenaissance musicology in very important ways."--Lawrence Bernstein, Universityof Pennsylvania, "...her style is so lucid that the interested lay reader will have notrouble following the discussion. The book is copiously illustrated withmusical examples and facsimiles....Owens's findings pose interesting challengesfor thoughtful performers of the music of the period."--American Recorder, "Wherever the study of this material leads from here, though, this book, in setting out the problem and beginning to address it, is the essential point of departure. Rich in its contents, then, Composers at Work is richer still in its implications for future research." --Journal of theAmerican Musicological Society, "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University, "Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of theevidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissancepolyphony...."--John Milsom, Notes, "Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom, Notes"With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."--Choice"This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania"One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University"A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony...."--John Milsom, Notes "With Owens's book scholars and students at last have a study concerned with the creative processes of European composers active at a time of both profound stylistic change and remarkable transformations in the manner, material, and uses of written texts....[Owens] provides a profound new understanding of how Renaissance composers understood their art."--Choice "This is a stunning piece of work which will alter the landscape of Renaissance musicology in very important ways."--Lawrence Bernstein, University of Pennsylvania "One of the most important studies in Renaissance musicology in many years. A landmark."--Lewis Lockwood, Harvard University "A thoughtful and multi-faceted approach to a problem that has long been a matter of speculation. The astonishing and most original contribution of her study is that no evidence has come to light that accomplished composers used scores for composing. This book will awaken new interest in Renaissance composition and should interest all students of Renaissance music."--Bonnie J. Blackburn, Wolfson College, Oxford, "This is an extremely important book, beautifully executed, and will standas the study in the field of Renaissance composition for many years to come. Itsynthesizes all previous work in the area and contributes a vast amount of newmaterial and new interpretations."--M. Jennifer Bloxam, Williams College, "...her style is so lucid that the interested lay reader will have no trouble following the discussion. The book is copiously illustrated with musical examples and facsimiles....Owens's findings pose interesting challenges for thoughtful performers of the music of the period."--AmericanRecorder
Dewey Edition
20
Illustrated
Yes
Dewey Decimal
781/.3/09031
Synopsis
How did Renaissance composers write their music? In this revolutionary look at a subject that has fascinated scholars for years, musicologist Jessie Ann Owens offers new and striking evidence that contrary to accepted theory, sixteenth-century composers did not use scores to compose--even to write complex vocal polyphony. Drawing on sources that include contemporary theoretical treatises, documents and letters, iconographical evidence, actual fragments of composing slates, and numerous sketches, drafts, and corrected autograph manuscripts, Owens carefully reconstructs the step-by-step process by which composers between 1450 and 1600 composed their music. The manuscript evidence--autographs of more than thirty composers--shows the stages of work on a wide variety of music--instrumental and vocal, sacred and secular--from across most of Renaissance Europe. Her research demonstrates that instead of working in full score, Renaissance composers fashioned the music in parts, often working with brief segments, according to a linear conception. The importance of this discovery on editorial interpretation and on performance cannot be overstated. The book opens with a broad picture of what has been known about Renaissance composition. From there, Owens examines the teaching of composition and the ways in which musicians and composers both read and wrote music. She also considers evidence for composition that occurred independent of writing, such as composing "in the mind" or composing with instruments. In chapters on the manuscript evidence, she establishes a typology both of the sources themselves and of their contents (sketches, drafts, fair copies). She concludes with case studies detailing the working methods of Francesco Corteccia, Henricus Isaac, Cipriano de Rore, and Giovanni Pierluigi da Palestrina. This book will change the way we analyze and understand early music. Clear, provocative, and painstakingly researched, Composers at Work: The Craft of Musical Composition 1450-1600 makes essential reading for scholars of Renaissance music as well as those working in related fields such as sketch studies and music theory., "Composers at Work justly deserves to be called remarkable, not only because its deductive and intellectual achievements are so very great, but also because it opens a field of research that will be unknown to many readers.... Thanks to Owens's painstaking and brilliant evaluation of the evidence, we possess a clearer understanding of the processes by which [Renaissance] composers built their pieces, section by section and layer by layer.... As a study of technical procedure, [this book] is a triumph, and it must be required reading for anyone with an interest in Renaissance polyphony.... The book is beautifully produced. In order to cope with the large number of photographic reproductions, it is printed throughout on glossy paper, and as a result the quality of reproduction is consistently high. Music examples are provided, and the book's tables and bibliography will be useful to all who work on the nature and history of autograph music manuscripts.... Already the tally of composers' autographs is growing, precisely as Owens knew it would. But her book will not suffer because of this. Only an autograph of unusual and exceptional kind is likely ever to pose a serious challenge to Owens's now classic image of the Renaissance composer at work."--John Milsom, Notes, Composers at Work discusses a problem that has fascinated scholars for a long time: how did Renaissance composers write their complex vocal polyphony? Twentieth-century scholars are so accustomed to scoring music, carefully lining up the vertical simultaneities, and carefully aligning the bar lines in order to study and perform music, that the idea that a composer could create elaborate polyphony, even in eight parts, without the aid of a score, seems incomprehensible. How then did sixteenth-century composers write their music, and what evidence exists to document this compositional process?Using sketches and other documentary evidence, long a matter of intense study in later centuries, Professor Owens' study is the first full-length investigation of the topic in Renaissance music. It sets out the indispensable background to an inquiry and into the fundamental processes of Renaissance composition.
LC Classification Number
ML430.O94
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