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Publikation Gaspar van Weerbeke, Ave mundi domina. A Motetti Missales Cycle from the Milanese Libroni (Edition von Musiknoten)(A-R Editions, 2023) Pavanello, Agnese03 - SammelbandPublikation Gaude flore virginale. A Motetti Missales Cycle from Munich, Bayerische Staatsbibliothek Mus. MS 3154 (Edition von Musiknoten)(A-R Editions, 2023) Pavanello, Agnese03 - SammelbandPublikation Stepping Away from the Notation. Reconstructing Instrumental Practices in 16th-Century Dance Repertory(Schwabe, 2023) Romain, Baptiste; Cazaux, Christelle; Papiro, Martina; Pavanello, Agnese04A - Beitrag SammelbandPublikation Darf man das? Historische Musikpraxis zwischen historischen Quellen und ästhetischer Gegenwart. Einleitung(Schwabe, 2023) Kirnbauer, Martin; Cazaux, Christelle; Papiro, Martina; Pavanello, Agnese04A - Beitrag SammelbandPublikation Tanz und Musik. Perspektiven für die historische Musikpraxis(Schwabe, 2024) Cazaux, Christelle; Papiro, Martina; Pavanello, Agnese03 - SammelbandPublikation Das Menuett als Klangrede. Ein Beitrag zur Didaktik der Improvisation(Schwabe, 2024) Bernardy, Ralph; Cazaux, Christelle; Papiro, Martina; Pavanello, Agnese04A - Beitrag SammelbandPublikation Gaspar van Weerbeke, Ave mundi domina(2021) Pavanello, AgneseIn: Motet Cycles Edition (MCE, Digital Edition of Selected Motet Cycles), Gaffurius Codices Online10 - Elektronische-/ WebpublikationPublikation Anonymous Gaude flore virginale from Munich, Bayerische Staatsbibliothek, Mus. MS 3154(2021) Pavanello, AgneseIn: Motet Cycles Edition (MCE, Digital Edition of Selected Motet Cycles), Gaffurius Codices Online10 - Elektronische-/ WebpublikationPublikation Motet Cycles Edition: General Introduction(2021) Pavanello, Agnese10 - Elektronische-/ WebpublikationPublikation Tartini’s Re-Formulation Strategies in Alternative Concerto Movements(Berlin, 2022) Pavanello, Agnese; Taschetti, GabrieleThis chapter focuses on alternative movements in Giuseppe Tartini’s concertos. As is evident from existing autograph scores and from sources from Tartini’s circles, the violinist later composed new movements for some concertos, probably on the occasion of new performances, and in particular the central ones. This study addresses the question of why Tartini changed the formal arrangement of an existing work and whether the new movements were intended as true substitutions or mere alternatives. The aim of this preliminary investigation is to provide a first frame of reference for the study of Tartini’s works characterized by a non-univocal/variable formal arrangement and to contribute to the analysis of the works in question and their transmission.04A - Beitrag Sammelband