The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /

The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /

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W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off­ putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never­ theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.

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Main Authors: Osborne, Charles. author., SpringerLink (Online service)
Format: Texto biblioteca
Language:eng
Published: Boston, MA : Springer US, 1974
Subjects:Culture, Music., Cultural and Media Studies.,
Online Access:http://dx.doi.org/10.1007/978-1-4757-0049-7
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id KOHA-OAI-TEST:231643
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spelling KOHA-OAI-TEST:2316432018-07-31T00:14:46ZThe Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire / Osborne, Charles. author. SpringerLink (Online service) textBoston, MA : Springer US,1974.engW HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off­ putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never­ theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.I The German Language -- II France -- III Russia, Scandinavia and Eastern Europe -- IV Italy, Spain and the rest of Europe -- V The English Language -- Epilogue -- Index of composers and poets -- Index of titles and first lines.W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off­ putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never­ theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.CultureMusic.Cultural and Media Studies.Music.Springer eBookshttp://dx.doi.org/10.1007/978-1-4757-0049-7URN:ISBN:9781475700497
institution COLPOS
collection Koha
country México
countrycode MX
component Bibliográfico
access En linea
En linea
databasecode cat-colpos
tag biblioteca
region America del Norte
libraryname Departamento de documentación y biblioteca de COLPOS
language eng
topic Culture
Music.
Cultural and Media Studies.
Music.
Culture
Music.
Cultural and Media Studies.
Music.
spellingShingle Culture
Music.
Cultural and Media Studies.
Music.
Culture
Music.
Cultural and Media Studies.
Music.
Osborne, Charles. author.
SpringerLink (Online service)
The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /
description W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off­ putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never­ theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.
format Texto
topic_facet Culture
Music.
Cultural and Media Studies.
Music.
author Osborne, Charles. author.
SpringerLink (Online service)
author_facet Osborne, Charles. author.
SpringerLink (Online service)
author_sort Osborne, Charles. author.
title The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /
title_short The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /
title_full The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /
title_fullStr The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /
title_full_unstemmed The Concert Song Companion [electronic resource] : A Guide to the Classical Repertoire /
title_sort concert song companion [electronic resource] : a guide to the classical repertoire /
publisher Boston, MA : Springer US,
publishDate 1974
url http://dx.doi.org/10.1007/978-1-4757-0049-7
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