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From Renaissance to Baroque
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From Renaissance to Baroque

Change in Instruments and Instrumental Music in the Seventeenth Century

From Renaissance to Baroque

Change in Instruments and Instrumental Music in the Seventeenth Century

ByJonathan Wainwright
Edition 1st Edition
First Published 2005
eBook Published 5 July 2017
Pub. location London
Imprint Routledge
DOIhttps://doi.org/10.4324/9781315093826
Pages 340 pages
eBook ISBN 9781315093826
SubjectsArts
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Wainwright, J. (2005). From Renaissance to Baroque. London: Routledge, https://doi.org/10.4324/9781315093826

Historians of instruments and instrumental music have long recognised that there was a period of profound change in the seventeenth century, when the consorts or families of instruments developed during the Renaissance were replaced by the new models of the Baroque period. Yet the process is still poorly understood, in part because each instrument has traditionally been considered in isolation, and changes in design have rarely been related to changes in the way instruments were used, or what they played. The essays in this book are by distinguished international authors that include specialists in particular instruments together with those interested in such topics as the early history of the orchestra, iconography, pitch and continuo practice. The book will appeal to instrument makers and academics who have an interest in achieving a better understanding of the process of change in the seventeenth century, but the book also raises questions that any historically aware performer ought to be asking about the performance of Baroque music. What sorts of instruments should be used? At what pitch? In which temperament? In what numbers and/or combinations? For this reason, the book will be invaluable to performers, academics, instrument makers and anyone interested in the fascinating period of change from the 'Renaissance' to the 'Baroque'.

TABLE OF CONTENTS
chapter introduction|22 pages
From ‘Renaissance’ to ‘Baroque’?
WithJonathan P. Wainwright
View abstract
chapter 1|24 pages
Baptiste’s Hautbois: The Metamorphosis from Shawm to Hautboy in France, 1620–1670
WithBruce Haynes
View abstract
chapter 2|16 pages
A Commentary on the Letter by Michel de la Barre Concerning the History of Musettes and Hautboys
WithMarc Ecochard
View abstract
chapter 3|10 pages
The Woodwind Instruments of Richard Haka (1645/6–1705)
WithJan Bouterse
View abstract
chapter 4|14 pages
Basstals or Curtoons: The Search for a Transitional Fagott
WithGraham Lyndon-Jones
View abstract
chapter 5|26 pages
The Iconographic Background to the Seventeenth-Century Recorder
WithAnthony Rowland-Jones
View abstract
chapter 6|32 pages
The Renaissance Flute in the Seventeenth Century
WithNancy Hadden
View abstract
chapter 7|22 pages
The Flute at Dresden: Ramifications for Eighteenth-Century Woodwind Performance in Germany
WithMary Oleskiewicz
View abstract
chapter 8|7 pages
How did Seventeenth-Century English Violins Really Sound?
WithPeter Trevelyan
View abstract
chapter 9|18 pages
The Development of French Lute Style 1600–1650
WithMatthew Spring
View abstract
chapter 10|20 pages
The Early Air de Cour, the Theorbo, and the Continuo Principle in France
WithJonathan Le Cocq
View abstract
chapter 11|16 pages
From Stops Organical to Stops of Variety: The English Organ from 1630 to 1730
WithDominic Gwynn
View abstract
chapter 12|14 pages
Upgrading from Consorts to Orchestra at the Württemberg Court
WithSamantha Owens
View abstract
chapter 13|16 pages
From Violin Band to Orchestra
WithPeter Holman
View abstract
chapter 14|10 pages
Organological Gruyère
WithJeremy Montagu
View abstract
chapter 1|2 pages
J.S. Bach’s Actus tragicus: ‘Gottes Zeit ist die allerbeste Zeit’ (BWV 106)
WithAndrew Parrott
View abstract
chapter 2|4 pages
The French Baroque Orchestra: Lully, Charpentier, Couperin
WithGraham Sadler
View abstract
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