000			03859cam a22005894a 4500
001			ocn682903904
003			OCoLC
005			20251028093324.0
007			tu ||||||||||||||||||||
008			101118s2011 enkag b 001 0 eng
010			_a 2010048128
035			_a(Sirsi) i9780521762540
040			_aDLC _beng _cDLC _dYDX _dERASA _dYDXCP _dCDX _dTDF _dBWX _dUKM _dCOO _dBTCTA _dIG# _dIAD _dUKMGB _dMIX _dYUS _dICW _dOCLCF _dGWDNB _dOCLCQ _dVF$
015			_aGBB0B3883 _2bnb
015			_a13,A44 _2dnb
016	7		_a1026176549 _2DE-101
016	7		_a015654328 _2Uk
019			_a665137597 _a694393904
020			_a9780521762540 (hardback)
020			_a0521762545 (hardback)
020			_a9780521756310 (pbk.)
020			_a0521756316 (pbk.)
024	8		_a40019257547
035			_a(OCoLC)682903904 _z(OCoLC)665137597 _z(OCoLC)694393904
041	1		_aeng _hger
042			_apcc
050	0	0	_aML 1156 .S54 2011
049			_aVF$A
100	1		_aSchmidt, Thomas _c(Musicologist)
245	1	4	_aThe sonata / _cThomas Schmidt-Beste.
260			_aCambridge, UK ; _aNew York : _bCambridge University Press, _c2011.
300			_axiii, 263 pages : _billustrations, music ; _c26 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
490	1		_aCambridge introductions to music
504			_aIncludes bibliographical references (pages 243-249) and index.
546			_aTranslated from the German.
520			_aWhat is a sonata? Literally translated, it simply means"'instrumental piece." It is the epitome of instrumental music, and is certainly the oldest and most enduring form of "pure" and independent instrumental composition, beginning around 1600 and lasting to the present day. Schmidt-Beste analyses key aspects of the genre including form, scoring and its social context--who composed, played and listened to sonatas? In giving a comprehensive overview of all forms of music which were called "sonatas" at some point in musical history, this book is more about change than about consistency--an ensemble sonata by Gabrieli appears to share little with a Beethoven sonata, or a trio sonata by Corelli with one of Boulez's piano sonatas, apart from the generic designation. However, common features do emerge, and the look across the centuries--never before addressed in a single-volume survey--opens up new and significant perspectives [Publisher description].
505	0		_aChapter 1 : Definitions. Sonata and canzona ; Sonata and sinfonia ; Sonata and concerto ; Sonata and suite/partita ; The sonata and free instrumental genres : toccata, ricercar, capriccio. fantasia -- Chapter 2 : Form. The "free" sonata in the seventeenth century ; Corelli and his legacy ; Sonata cycles and "sonata form" after 1750 ; Beethoven's sonatas : consummating or transcending Classical form? ; The cycle ; The sonata after Beethoven ; Sonata composition in the twentieth century -- Chapter 3 : Functions and aesthetics. Locations and occasions ; Target groups : professionals, connoisseurs and amateurs ; Learned style ; Virtuosity ; Sonata form as an aesthetic paradigm ; Absolute music? On meaning and programmaticism -- Chapter 4 : Scoring and texture. Developments in the seventeenth and eighteenth centuries ; The paradigm shift of ca. 1750 ; The age of the piano sonata ; Piano and others ; The sonata for unaccompanied solo instrument ; The organ sonata.
650		0	_aSonata.
650		0	_aSonata form.
650		7	_aSonata. _2fast _0(OCoLC)fst01125798
650		7	_aSonata form. _2fast _0(OCoLC)fst01125800
650		7	_aSonate _2gnd _0(DE-588)4131190-5
648		7	_aGeschichte _2gnd
655		7	_aLehrbuch. _2gnd
830		0	_aCambridge introductions to music.
856	4	1	_3Table of contents _uhttp://d-nb.info/1026176549/04
994			_aC0 _bVF$
999			_c134295 _d134295