Informationen zum Autor Jasmin Melissa Cameron is lecturer in Music at the University of Aberdeen in Scotland. She has published articles on texted music in the late Baroque and Classical periods, and produced the recent edition of Vivaldi's Gloria RV 589 for the New Novello Choral Series. Klappentext The Crucifixion in Music studies the musical representation of words and the concepts and contexts to which words refer, examining the way the treatment of a literary text, namely the Crucifixus, coalesces into a recognizable musical tradition that individual composers follow, develop, modify, or ignore. Zusammenfassung The Crucifixion in Music studies the musical representation of words and the concepts and contexts to which words refer! examining the way the treatment of a literary text! namely the Crucifixus! coalesces into a recognizable musical tradition that individual composers follow! develop! modify! or ignore. Inhaltsverzeichnis Part 1 List of Figures and Tables Part 2 Reader's Note Part 3 Editor's Foreword Part 4 Preface Part 5 Acknowledgments Part 6 Part I: The Liturgy and Its Musical Implications Chapter 7 1. The Crucifixus : An Overview Part 8 Part II: Investigative Approaches Chapter 9 2. Music and Rhetoric: Representation of the Text as Conceived by Theorists of the Eighteenth Century Chapter 10 3. Modern Analytical Views Relevant to the Subject and Their Relationship to Rhetoric Part 11 Part III: Analysis Chapter 12 4. A Musical Overview Chapter 13 5. Analytical Results Part 14 Part IV: Case Studies Chapter 15 6. Adaptation of Preexisting Music for a Setting of the Crucifixus : J.S. Bach: Crucifixus from Mass in B Minor BWV 232 Chapter 16 7. Organization of Texture and Text: Caldara: Crucifixus a 16 Voci Chapter 17 8. A Semiotic Analysis: Bertoni: Crucifixus con Organo a 4 Voci Chapter 18 9. A Rhetorical Analysis: Zelenka: Crucifixus from Missa Paschalis ZWV 7 Chapter 19 10. Textual Influence: Vivaldi: Crucifixus from Credo RV 591 Chapter 20 11. Constraints of Style: Lotti: Crucifixus Settings for Six and Ten Voices Chapter 21 12. Orchestral Practice and Crucifixus Conventions: Mozart, Haydn, and Beyond Part 22 Part V: Summary Chapter 23 13. The Crucifixus Tradition: Patterns of Influence and Modes of Transmission Chapter 24 14. General Overview Part 25 Appendixes Chapter 26 A. Crucifixus Settings Chapter 27 B. Rhythmic Variants for Setting the Word "Crucifixus" Chapter 28 C. A Comparison of Bach's Setting of the Crucifixus from the Mass in B Minor BWV 232 and the First Part of the Opening Chorus from Weinen, Klagen, Sorgen, Zagen BWV 12 Chapter 29 D. A. Caldara (8): Crucifixus a 16 Voci Chapter 30 E. F.G. Bertoni (5): Crucifixus con Organo a 4 Voci Chapter 31 F. A. Vivaldi (95): Crucifixus from Credo RV 591 Chapter 32 G. A. Lotti (59): Crucifixus a 6 Chapter 33 H. A Lotti (60): Crucifixus a 10 Chapter 34 I. W.A. Mozart (84): Crucifixus from Krönungs-Messe KV 317 Chapter 35 J. F.J. Haydn (39): Crucifixus from Missa in Tempore Belli Chapter 36 K. D. Cimarosa (16): Messa a 4 con Stromenti Part 37 Bibliography Part 38 General Index Part 39 Musical Index Part 40 About the Author ...

Autorentext

Jasmin Melissa Cameron is lecturer in Music at the University of Aberdeen in Scotland. She has published articles on texted music in the late Baroque and Classical periods, and produced the recent edition of Vivaldi's Gloria RV 589 for the New Novello Choral Series.

Klappentext

The Crucifixion in Music studies the musical representation of words and the concepts and contexts to which words refer, examining the way the treatment of a literary text, namely the Crucifixus, coalesces into a recognizable musical tradition that individual composers follow, develop, modify, or ignore.

Inhalt

Part 1 List of Figures and Tables
Part 2 Reader's Note
Part 3 Editor's Foreword
Part 4 Preface
Part 5 Acknowledgments
Part 6 Part I: The Liturgy and Its Musical Implications
Chapter 7 1. The Crucifixus: An Overview
Part 8 Part II: Investigative Approaches
Chapter 9 2. Music and Rhetoric: Representation of the Text as Conceived by Theorists of the Eighteenth Century
Chapter 10 3. Modern Analytical Views Relevant to the Subject and Their Relationship to Rhetoric
Part 11 Part III: Analysis
Chapter 12 4. A Musical Overview
Chapter 13 5. Analytical Results
Part 14 Part IV: Case Studies
Chapter 15 6. Adaptation of Preexisting Music for a Setting of the Crucifixus: J.S. Bach: Crucifixus from Mass in B Minor BWV 232
Chapter 16 7. Organization of Texture and Text: Caldara: Crucifixus a 16 Voci
Chapter 17 8. A Semiotic Analysis: Bertoni: Crucifixus con Organo a 4 Voci
Chapter 18 9. A Rhetorical Analysis: Zelenka: Crucifixus from Missa Paschalis ZWV 7
Chapter 19 10. Textual Influence: Vivaldi: Crucifixus from Credo RV 591
Chapter 20 11. Constraints of Style: Lotti: Crucifixus Settings for Six and Ten Voices
Chapter 21 12. Orchestral Practice and Crucifixus Conventions: Mozart, Haydn, and Beyond
Part 22 Part V: Summary
Chapter 23 13. The Crucifixus Tradition: Patterns of Influence and Modes of Transmission
Chapter 24 14. General Overview
Part 25 Appendixes
Chapter 26 A. Crucifixus Settings
Chapter 27 B. Rhythmic Variants for Setting the Word "Crucifixus"
Chapter 28 C. A Comparison of Bach's Setting of the Crucifixus from the Mass in B Minor BWV 232 and the First Part of the Opening Chorus from Weinen, Klagen, Sorgen, Zagen BWV 12
Chapter 29 D. A. Caldara (8): Crucifixus a 16 Voci
Chapter 30 E. F.G. Bertoni (5): Crucifixus con Organo a 4 Voci
Chapter 31 F. A. Vivaldi (95): Crucifixus from Credo RV 591
Chapter 32 G. A. Lotti (59): Crucifixus a 6
Chapter 33 H. A Lotti (60): Crucifixus a 10
Chapter 34 I. W.A. Mozart (84): Crucifixus from Krönungs-Messe KV 317
Chapter 35 J. F.J. Haydn (39): Crucifixus from Missa in Tempore Belli
Chapter 36 K. D. Cimarosa (16): Messa a 4 con Stromenti
Part 37 Bibliography
Part 38 General Index
Part 39 Musical Index
Part 40 About the Author