The Canon in Giovanni Maria Bononcini’s Instrumental Music, 1666–1678: Negotiating Between Compositional Practice and Music Theoretical Discourse
Autore | Walter Kurt Kreyszig |
Curatela | Marc Vanscheeuwijck |
Collana | Studi e Saggi |
N. | 31 |
Dimensioni | 17×24, pp. XIX+372 |
Anno | 2020 |
ISBN | 9788855430272 |
Throughout much of his career, Giovanni Maria Bononcini was preoccupied with the exploration of the canon in the realm of both musica practica and musica theorica. In his Opera 1, 3, 4, and 9, Bononcini focused on the compositional practices related to the canon in its most varied treatments, with the profound insights gained for a music-theoretical codification of these practices in his Musico prattico, op. 8 (Bologna, 1673), a volume that was widely read in its original publication, in the 1678 and 1688 reprints, respectively of Venice and Bologna, as well as in the 1701 posthumous publication of Stuttgart in German translation, the latter referred to by Friedrich Wilhelm Marpurg in his two-volume Abhandlung von der Fuge (Berlin, 1754).
Walter Kurt Kreyszig, is professor emeritus of musicology at the University of Saskatchewan (Saskatoon, Canada), where he has offered classes at both the undergraduate and graduate levels, in musicology, history of music theory, performance practices, notation, organology, and music bibliography. He is a Deputy Director General of the International Biographical Centre (Cambridge, United Kingdom), a Fellow of the American Biographical Centre (Raleigh, North Carolina, U.S.A.), a member of the Center for Canadian Studies at the University of Vienna, and a Membro Onorario del Comitato Scientifico «Dono Delius» of the Conservatorio di musica «N. Paganini» (Genoa, Italy). He received his doctorate in musicology from Yale University. Walter
<walter.kreyszig@usask.ca>