Sonata for Viola Da Gamba and Obbligato Harpsichord in D Major, BWV 1028
Author : Johann Sebastian Bach
Publisher :
Page : 14 pages
File Size : 37,30 MB
Release : 1926
Category : Sonatas
ISBN :
Author : Johann Sebastian Bach
Publisher :
Page : 14 pages
File Size : 37,30 MB
Release : 1926
Category : Sonatas
ISBN :
Author :
Publisher :
Page : 0 pages
File Size : 37,61 MB
Release : 1926
Category :
ISBN :
Author :
Publisher : Edition Peters
Page : pages
File Size : 29,30 MB
Release : 2022-05
Category : Music
ISBN :
Author :
Publisher : Alfred Music Publishing
Page : 0 pages
File Size : 45,89 MB
Release : 1985-03
Category : Music
ISBN : 9780769259390
(Transcribed for Cello and Piano by Julius Klengel)
Author : Johann Sebastian Bach
Publisher :
Page : pages
File Size : 17,70 MB
Release : 1989
Category :
ISBN :
Author : Dietrich Buxtehude
Publisher :
Page : 34 pages
File Size : 45,48 MB
Release : 2005
Category : Sonatas (Viola da gamba and continuo)
ISBN :
Author : Chamber Music Society of Lincoln Center
Publisher :
Page : 680 pages
File Size : 47,40 MB
Release : 2001
Category : Concert programs
ISBN :
Author : Johann Pfeiffer
Publisher :
Page : 12 pages
File Size : 49,9 MB
Release : 2004
Category :
ISBN :
Author : Johann Sebastian Bach
Publisher : Faber & Faber
Page : 57 pages
File Size : 41,57 MB
Release : 1987
Category : Sonatas (Cello and harpsichord)
ISBN : 9780571508808
Author : Ben Winters
Publisher : Routledge
Page : 277 pages
File Size : 46,24 MB
Release : 2014-02-05
Category : Art
ISBN : 1135022569
This book examines the relationship between narrative film and reality, as seen through the lens of on-screen classical concert performance. By investigating these scenes, wherein the performance of music is foregrounded in the narrative, Winters uncovers how concert performance reflexively articulates music's importance to the ontology of film. The book asserts that narrative film of a variety of aesthetic approaches and traditions is no mere copy of everyday reality, but constitutes its own filmic reality, and that the music heard in a film's underscore plays an important role in distinguishing film reality from the everyday. As a result, concert scenes are examined as sites for provocative interactions between these two realities, in which real-world musicians appear in fictional narratives, and an audience’s suspension of disbelief is problematised. In blurring the musical experiences of onscreen observers and participants, these concert scenes also allegorize music’s role in creating a shared subjectivity between film audience and character, and prompt Winters to propose a radically new vision of music’s role in narrative cinema wherein musical underscore becomes part of a shared audio-visual space that may be just as accessible to the characters as the music they encounter in scenes of concert performance.