The Oxford History of Western Music, Volume 2: Music in the 17th and 18th centuries

Description

The Oxford History of Western Music is a magisterial survey of the traditions of Western music by one of the most prominent and provocative musicologists of our time. This text illuminates, through a representative sampling of masterworks, those themes, styles, and currents that give shape and direction to each musical age. Taking a critical perspective, this text sets the details of music, the chronological sweep of figures, works, and musical ideas, within the larger context of world affairs and cultural history. Written by an authoritative, opinionated, and controversial figure in musicology, The Oxford History of Western Music provides a critical aesthetic position with respect to individual works, a context in which each composition may be evaluated and remembered. Taruskin combines an emphasis on structure and form with a discussion of relevant theoretical concepts in each age, to illustrate how the music itself works, and how contemporaries heard and understood it. It also describes how the context of each stylistic period-key cultural, historical, social, economic, and scientific events-influenced and directed compositional choices. Unlike earlier surveys, Taruskin provides greater attention to the full range of 20th century music, including American music as part of the mainstream tradition of western music, women in music, and popular music. The five volumes of main text each have musical examples and black-and-white pictures throughout, source notes, and an index. The sixth volume contains a comprehensive chronology, further reading, and an index to the entire set. COURT AND COMMERCE......Page 1 Notes:......Page 3 FROM MANTUA TO VENICE......Page 4 Notes:......Page 18 POETICS AND ESTHESICS......Page 20 Notes:......Page 23 OPERA AND ITS POLITICS......Page 25 Notes:......Page 29 SEX OBJECTS, SEXED AND UNSEXED......Page 31 Notes:......Page 33 THE QUINTESSENTIAL PRINCELY SPECTACLE......Page 34 Notes:......Page 44 THE CARNIVAL SHOW......Page 46 Notes:......Page 57 SOME ORGANISTS......Page 59 Notes:......Page 67 THE TOCCATA......Page 69 Notes:......Page 75 SWEELINCK—HIS PATRIMONY AND HIS PROGENY......Page 76 Notes:......Page 84 LUTHERAN ADAPTATIONS: THE CHORALE PARTITA......Page 85 THE CHORALE CONCERTO......Page 91 RUIN......Page 97 A CREATIVE MICROCOSM......Page 99 Notes:......Page 104 LUXURIANCE......Page 105 Notes:......Page 114 SHRIVELED DOWN TO THE EXPRESSIVE NUB......Page 116 CARISSIMI: ORATORIO AND CANTATA......Page 125 WOMEN IN MUSIC: A HISTORIANS’ DILEMMA......Page 134 Notes:......Page 141 SENSE AND SENSUOUSNESS......Page 143 Notes:......Page 147 THE POLITICS OF PATRONAGE......Page 149 Notes:......Page 152 DRAMA AS COURT RITUAL......Page 154 ATYS, THE KING’S OPERA......Page 169 Notes:......Page 190 ART AND POLITICS: SOME CAVEATS......Page 192 JACOBEAN ENGLAND......Page 196 MASQUE AND CONSORT......Page 197 Notes:......Page 207 AYRES AND SUITES: HARMONICALLY DETERMINED FORM......Page 209 DISTRACTED TIMES......Page 214 Notes:......Page 217 RESTORATION......Page 219 Notes:......Page 223 PURCELL......Page 224 DIDO AND AENEAS AND THE QUESTION OF “ENGLISH OPERA”......Page 232 Notes:......Page 240 THE MAKING OF A CLASSIC......Page 241 Notes:......Page 242 NAPLES......Page 243 SCARLATTI......Page 247 Notes:......Page 260 NEOCLASSICISM......Page 262 Notes:......Page 264 METASTASIO......Page 266 Notes:......Page 274 METASTASIO’S MUSICIANS......Page 276 THE FORTUNES OF ARTASERSE......Page 279 Notes:......Page 298 OPERA SERIA IN (AND AS) PRACTICE......Page 299 Notes:......Page 300 “PERFORMANCE PRACTICE”......Page 302 Notes:......Page 307 STANDARDIZED GENRES AND TONAL PRACTICES......Page 308 WHAT, EXACTLY, IS “TONALITY”?......Page 315 THE SPREAD OF “TONAL FORM”......Page 332 Notes:......Page 342 THE FUGAL STYLE......Page 343 Notes:......Page 350 HANDEL AND “DEFAMILIARIZATION”......Page 352 Notes:......Page 358 BACH AND “DRAMATIZED” TONALITY......Page 360 VIVALDI’S FIVE HUNDRED......Page 371 Notes:......Page 382 “CONCERTI MADRIGALESCHI”......Page 383 Notes:......Page 395 CONTEXTS AND CANONS......Page 396 Notes:......Page 400 CAREERS AND LIFESTYLES......Page 401 ROOTS (DOMESTIC)......Page 411 ROOTS (IMPORTED)......Page 438 Notes:......Page 442 BACH’S SUITES......Page 443 A CLOSE-UP......Page 446 “AGREMENS” AND “DOUBLES”......Page 462 STYLISTIC HYBRIDS......Page 477 THE “BRANDENBURG” CONCERTOS......Page 485 “OBBLIGATO” WRITING AND/OR ARRANGING......Page 502 WHAT DOES IT ALL MEAN?......Page 505 Notes:......Page 508 HANDEL ON THE STRAND......Page 509 Notes:......Page 522 LOFTY ENTERTAINMENTS......Page 523 Notes:......Page 536 MESSIAH......Page 537 “BORROWING”......Page 545 Notes:......Page 563 BACK TO BACH: THE CANTATAS......Page 565 THE OLD STYLE......Page 570 THE NEW STYLE......Page 578 MUSICAL SYMBOLISM, MUSICAL IDEALISM......Page 587 Notes:......Page 599 WHAT MUSIC IS FOR......Page 601 Notes:......Page 618 BACH’S “TESTAMENTS”......Page 620 THE BACH REVIVAL......Page 631 Notes:......Page 640 CURSED QUESTIONS......Page 642 SCARLATTI, AT LAST......Page 645 Notes:......Page 656 YOU CAN’T GET THERE FROM HERE......Page 658 Notes:......Page 662 THE YOUNGER BACHS......Page 663 SENSIBILITY......Page 675 Notes:......Page 688 THE LONDON BACH......Page 690 Notes:......Page 702 SOCIABILITY MUSIC......Page 703 Notes:......Page 712 “NATURE”......Page 713 INTERMISSION PLAYS......Page 716 Notes:......Page 721 THE “WAR OF THE BUFFOONS”......Page 723 NOVELS SUNG ON STAGE......Page 735 Notes:......Page 746 NOBLE SIMPLICITY......Page 748 Notes:......Page 758 ANOTHER QUERELLE......Page 760 Notes:......Page 762 WHAT WAS ENLIGHTENMENT?......Page 763 Notes:......Page 766 MOZART......Page 768 Notes:......Page 773 IDOMENEO......Page 774 DIE ENTFÜHRUNG AUS DEM SERAIL......Page 781 Notes:......Page 791 THE “DA PONTE” OPERAS......Page 793 Notes:......Page 798 LATE WORKS......Page 799 DON GIOVANNI CLOSE UP......Page 808 Notes:......Page 812 MUSIC AS A SOCIAL MIRROR......Page 813 MUSIC AND (OR AS) MORALITY......Page 821 Notes:......Page 827 PARTY MUSIC GOES PUBLIC......Page 829 CONCERT LIFE IS BORN......Page 832 AN ARMY OF GENERALS......Page 842 Notes:......Page 846 THE BACH SONS AS “SYMPHONISTS”......Page 847 HAYDN......Page 861 THE PERFECT CAREER......Page 864 Notes:......Page 875 THE ESTERHáZY YEARS......Page 877 Notes:......Page 882 NORMS AND DEVIATIONS: CREATING MUSICAL MEANING......Page 883 Notes:......Page 898 SIGN SYSTEMS......Page 899 Notes:......Page 904 ANATOMY OF A JOKE......Page 906 THE LONDON TOURS......Page 925 Notes:......Page 929 ADDRESSING THRONGS......Page 931 VARIATION AND DEVELOPMENT......Page 946 Notes:......Page 954 MORE SURPRISES......Page 956 THE CULMINATING WORK......Page 963 Notes:......Page 980 ART FOR ART’S SAKE?......Page 982 Notes:......Page 986 PSYCHOANALYZING MUSIC......Page 987 Notes:......Page 1000 THE “SYMPHONIC” CONCERTO IS BORN......Page 1002 Notes:......Page 1012 MOZART IN THE MARKETPLACE......Page 1013 Notes:......Page 1019 COMPOSING AND PERFORMING......Page 1021 Notes:......Page 1025 PERFORMANCE AS SELF-DRAMATIZATION......Page 1026 Notes:......Page 1040 THE TIP OF THE ICEBERG......Page 1042 FANTASIA AS METAPHOR......Page 1055 Notes:......Page 1065 THE COMING OF MUSEUM CULTURE......Page 1066 THE BEAUTIFUL AND THE SUBLIME......Page 1070 Notes:......Page 1079 CLASSIC OR ROMANTIC?......Page 1081 Notes:......Page 1084 BEETHOVEN AND “BEETHOVEN”......Page 1086 Notes:......Page 1091 KAMPF UND SIEG......Page 1092 Notes:......Page 1100 THE EROICA......Page 1101 Notes:......Page 1121 CRISIS AND REACTION......Page 1123 Notes:......Page 1130 THE “NINTH”......Page 1132 Notes:......Page 1143 INWARDNESS......Page 1145 Notes:......Page 1157 DEVOTION AND DERISION......Page 1158 Notes:......Page 1163 TRANSGRESSION......Page 1165 MORTI DI EROI......Page 1175 Notes:......Page 1182 GERMINATION AND GROWTH......Page 1184 Notes:......Page 1206 LETTING GO......Page 1207 Notes:......Page 1230 THE MUSIC CENTURY......Page 1231 Notes:......Page 1237