Awards
- Winner of A Choice Outstanding Academic Title for 2005.
Overview
A History of Baroque Music is an exhaustive study of the music of the Baroque period, with particular focus on the 17th century. Individual chapters consider the work of significant composers, including Monteverdi, Corelli, Scarlatti, Schutz, Purcell, Handel, Bach, and Telemann, as well as specific countries and regions. Two contributed chapters examine composers and genres from Russia, the Ukraine, Slovenia, Croatia, and Latin America. The book also includes a wealth and variety of musical examples from all genres and instrumental combinations. Contributors are Claudia Jensen, Metoda Kokole, Rui Vieira Nery, and Ennio Stipcevic.
Full Product Details
Author: George J. Buelow
Publisher: Indiana University Press
Imprint: Indiana University Press
Dimensions:
Width: 17.80cm
, Height: 4.50cm
, Length: 25.40cm
Weight: 1.628kg
ISBN: 9780253343659
ISBN 10: 0253343658
Pages: 720
Publication Date: 23 November 2004
Audience:
Professional and scholarly
,
Professional & Vocational
Format: Hardback
Publisher's Status: Active
Availability: Awaiting stock
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Reviews
Given the availability of numerous sophisticated surveys on Baroque music history, this reviewer was astonished that this tome exceeded expectations regarding scope and focus. In an effort to offer a discussion that goes beyond the standard canon of thought, Buelow (emer., Indiana Univ.) explores the works of Iberian, Eastern European, Latin American, and indeed even Caribbean composers. The book is replete with extensive score excerpts and analysis, and the chapters are subdivided into sections treating genre, composer, and technical development-an arrangement that makes this sizeable volume painless to navigate. Some of the most complex issues confronting the author are the paradigm shifts away from the knotty theoretical and philosophical concerns of the Renaissance establishment. Buelow excels in handling this, offering a chapter about this transition that even the uninitiated will be able to comprehend. His portrayal of the cross-cultural ramifications resulting from the contemporary political condition brings with it needed context for tracing musical developments as they occur across the Continent. Though the seemingly obligatory Bach and Handel chapters are somewhat overextended, this is a solid addition to the literature. Summing Up: Essential. Upper-division undergraduates through faculty and professionals. -J. Rubin, University of Minnesot -Duluth, 2005jun CHOICE
Given the availability of numerous sophisticated surveys on Baroque music history, this reviewer was astonished that this tome exceeded expectations regarding scope and focus. In an effort to offer a discussion that goes beyond the standard canon of thought, Buelow (emer., Indiana Univ.) explores the works of Iberian, Eastern European, Latin American, and indeed even Caribbean composers. The book is replete with extensive score excerpts and analysis, and the chapters are subdivided into sections treating genre, composer, and technical development--an arrangement that makes this sizeable volume painless to navigate. Some of the most complex issues confronting the author are the paradigm shifts away from the knotty theoretical and philosophical concerns of the Renaissance establishment. Buelow excels in handling this, offering a chapter about this transition that even the uninitiated will be able to comprehend. His portrayal of the cross--cultural ramifications resulting from the contemporary political condition brings with it needed context for tracing musical developments as they occur across the Continent. Though the seemingly obligatory Bach and Handel chapters are somewhat overextended, this is a solid addition to the literature. Summing Up: Essential. Upper--division undergraduates through faculty and professionals. --J. Rubin, University of Minnesot--Duluth, 2005jun CHOICE
<p> Given the availability of numerous sophisticated surveys on Baroquemusic history, this reviewer was astonished that this tome exceeded expectationsregarding scope and focus. In an effort to offer a discussion that goes beyond thestandard canon of thought, Buelow (emer., Indiana Univ.) explores the works ofIberian, Eastern European, Latin American, and indeed even Caribbean composers. Thebook is replete with extensive score excerpts and analysis, and the chapters aresubdivided into sections treating genre, composer, and technical development -- anarrangement that makes this sizeable volume painless to navigate. Some of the mostcomplex issues confronting the author are the paradigm shifts away from the knottytheoretical and philosophical concerns of the Renaissance establishment. Buelowexcels in handling this, offering a chapter about this transition that even theuninitiated will be able to comprehend. His portrayal of the cross -- culturalramifications resulting from the contemporar
Given the availability of numerous sophisticated surveys on Baroque music history, this reviewer was astonished that this tome exceeded expectations regarding scope and focus. In an effort to offer a discussion that goes beyond the standard canon of thought, Buelow (emer., Indiana Univ.) explores the works of Iberian, Eastern European, Latin American, and indeed even Caribbean composers. The book is replete with extensive score excerpts and analysis, and the chapters are subdivided into sections treating genre, composer, and technical development an arrangement that makes this sizeable volume painless to navigate. Some of the most complex issues confronting the author are the paradigm shifts away from the knotty theoretical and philosophical concerns of the Renaissance establishment. Buelow excels in handling this, offering a chapter about this transition that even the uninitiated will be able to comprehend. His portrayal of the cross cultural ramifications resulting from the contemporary political condition brings with it needed context for tracing musical developments as they occur across the Continent. Though the seemingly obligatory Bach and Handel chapters are somewhat overextended, this is a solid addition to the literature. Summing Up: Essential. Upper division undergraduates through faculty and professionals. J. Rubin, University of Minnesot Duluth, 2005jun CHOICE--Duluth, 2005jun CHOICE
<p>Given the availability of numerous sophisticated surveys on Baroque music history, this reviewer was astonished that this tome exceeded expectations regarding scope and focus. In an effort to offer a discussion that goes beyond the standard canon of thought, Buelow (emer., Indiana Univ.) explores the works of Iberian, Eastern European, Latin American, and indeed even Caribbean composers. The book is replete with extensive score excerpts and analysis, and the chapters are subdivided into sections treating genre, composer, and technical development--an arrangement that makes this sizeable volume painless to navigate. Some of the most complex issues confronting the author are the paradigm shifts away from the knotty theoretical and philosophical concerns of the Renaissance establishment. Buelow excels in handling this, offering a chapter about this transition that even the uninitiated will be able to comprehend. His portrayal of the cross--cultural ramifications resulting from the contemporary political condition brings with it needed context for tracing musical developments as they occur across the Continent. Though the seemingly obligatory Bach and Handel chapters are somewhat overextended, this is a solid addition to the literature. Summing Up: Essential. Upper--division undergraduates through faculty and professionals. --J. Rubin, University of Minnesot--Duluth, 2005jun CHOICE
Author Information
George J. Buelow, Professor Emeritus of Musicology at Indiana University, is former President of the American Bach Society. His research and publications, including several articles in The New Grove Dictionary of Music and Musicians, focus on the music of the Baroque and the history of opera.
