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Antonio Stradivari by Hill A & H

By Hill A & H

Хорошо иллюстрированная и переизданная (первое издание было в 1902 г.) биография Антонио Страдивари. Для книги характерно внимание к деталям как жизни так и творчества великого мастера. Подробно описывается техническая сторона (насколько она стала известна авторам) изготовления его инструментов. Книга хорошо написана и интересно читается.
Доп. информация: Хотя качество среднее но тем не менее книга вполне читаемая как с экрана так и после распечатки (кому что больше нравится). Эта книга на английском языке.

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3 Later on, several northern Italian courts will form cults around what they called musica secreta, concerts of avant-garde madrigals performed within an exclusive inner sanctum. Designed as mere entertainment, the madrigal involved the collusion of four or more singers in the social performance of hidden interiorities. I begin my story of the madrigal with the peerlessly pragmatic Machiavelli, in part because his intellectual agenda resonates more satisfactorily than Ficino’s with the kinds of divided subjectivities I perceive in this musical repertory.

But the ease with which a single voice can veer over the edge and hence pollute the whole ensemble makes rationality particularly precarious. Although Guarini may hint at such ramifications, Monteverdi makes them fundamental elements of his structural logic. Later music has conditioned us to situate ourselves according to sequences of verticalities or chords. Indeed, the great technological breakthrough of the early seventeenth century involved new notational conventions— figured bass—based on this conception.

Up to this point, the madrigal’s ambiguities have centered on the fact of simultaneous yet contradictory impulses, but these impulses at least all point to A as final. ”—at diªerent pitch levels. At first, the alto might seem to qualify as the one with the “real” modal information; like the bass in the phrase just completed, it ascends from C to E: 3-4-5 in Aeolian. Moreover, it gets to present this material in the uppermost voice instead of getting buried in the mix. But then there’s that worrisome bass, trailing behind and oªering the same tune a fifth below—an odd harmonization of the alto’s line, to say the least.

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