The late-medieval French poet Martin Le Franc devoted six stanzas of his poem Le champion des dames (1441-42) to the state of music in his time. It has been widely assumed that these stanzas testify ...to an epochal change in music history, the beginning of the musical Renaissance, especially in their identification of a nouvelle pratique cultivated by Dufay and Binchois, and of a contenance angloise apparently exhibited by the music of Dunstable. However, a closer analysis of Le Franc's poem-focusing particularly on its intellectual debts, its rhetorical construction, literary sources, and poetic imagery-indicates that this assumption is highly problematic. Although Martin Le Franc was a humanist, his comments are expressive of French musical sensibilities typical of the late fourteenth and early fifteenth centuries, and do not prefigure the fundamental changes in musical culture that were to take place in Europe after the 1470s.
"Instruction: To compose without the least knowledge of Music so much German Waltzer of Schleifer as one pleases, by throwing a certain Number with two Dice" by W. A. Mozart and edited by Fritz ...Spiegl is reviewed.
For decades, Wolfgang Amadeus Mozart's classical music has accompanied countless moving images, enhancing people's filmic experience and acquiring for itself new associations and compounded ...signification.
The Flute's Elusive Magic Davidson, Michael
Arcadia,
01/2001, Letnik:
36, Številka:
2
Journal Article
Recenzirano
Davidson talks about Mozart's acclaimed and most significant and revolutionary work "Die Zauberflote," yet also, his most disjunct and contradictory creation. Further revisions were made by G. B. ...Shaw (1890), G. Lowes Dickinson (1920) and W. H. Auden (1956), among others. No other work in the basic operatic repertoire has been so often and so thoroughly overhauled. Mixed metaphor or not, it is, obvious that there are many dangling ends attached to this particular flute.
Latcham's article "Mozart and the pianos of Gabriel Anton Walter" (1997), presented a new hypothesis regarding the damper-lifting mechanism for Mozart's beloved Anton Walter concert grand piano. ...Badura-Skoda argues that Latcham's hypothesis is improbable and cannot be historically correct. Latcham defends his paper and the historical facts within it.
