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005 20141212003910.0;

008 760114s1949 en acg b 000 0 eng u;

035 a| (Sirsi) o01927092;

035 a| (OCoLC)6070933;

040 c| TLMd| EREd| UtOrBLW;

049 a| EREM;

090 a| ML549.B4b| K4;

092 a| 785.9;

100 1 a| Bedbrook, Gerald Stares.=| ^A103865;

245 10 a| Keyboard music from the Middle Ages to the beginnings of the Baroque /c| by Gerald Stares Bedbrook.;

260 a| London :b| Macmillan and Co., Limited,c| 1949.;

300 a| xvi, 170 pages, xii leaves of plates :b| illustrations (1 color), music, portraits ;c| 22 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Includes index.;

504 a| "Selected bibliography": pages 146-155. "Recorded music": pages 156-160.;

505 0 a| Part I. The Medieval period. I: The ancient and Medieval organ. Origins of the term organ : the use of the organ in the Middle Ages ; Medieval compositions : the Robertsbridge fragment -- II: The fourteenth century. The organ in the Ars Nova period ; The clavichordium and clavicymbalum ; The Florentines : Francesco Landini : some account of organ playing in France -- III: The fifteenth century. Fifteenth-century organs and organists ; Italy (Squarcialupo) ; Flanders ; Germany : early German tablatures ; The Sagan, Winsem, and Breslau MSS. ; The Ileborgh tablature ; Conrad Paumann : the Fundamentum Organisandi ; The Buxheim organ book ; The Preambula ; Some late fifteenth-century organists and clavichordists : the fifteenth-century organ -- IV: Early sixteenth-century organ and keyboard music. Late Medieval and early Renaissance tendencies : early German: (a) Arnolt Schlick, (b) Paulus Hofhaimer and his school : Leonhard Kleber ; Contemporaries : French and English keyboard music ; Later German schools --;

505 0 a| Part II. The Renaissance. V: Sixteenth-century Italy. The Renaissance of music : Venice ; The instrumental forms of the Italian Renaissance : the Ricercar and Fantasia ; Early Italian organ music ; Marco Antonio di Bologna ; The first Venetian school: (a) Adrian Willaert, (b) Jachet Buus ; Girolamo Cavazzoni (the younger) of Urbino ; The Spanish school : Antonio Cabezon -- VI: The second Venetian school. Types of composition ; The sixteenth-century organ ; The clavicembalo and clavichord (manicordo) ; The organists of St. Mark's, Venice ; Andrea Gabrieli ; Claudio Merulo ; Giovanni Gabrieli ; Contemporary keyboard composers --;

505 0 a| Part III. The North European schools and the beginnings of the Baroque. VII: Song and dance forms : the variation form -- VIII: The North European schools : the Netherlands and England. Jan Pieterszoon Sweelinck ; The English school -- IX: The beginnings of the Baroque keyboard schools. Girolamo Frescobaldi ; General tendencies after the Sweelinck and Frescobaldi periods -- X: The technique of early keyboard music.;

520 a| "The author believes that early instrumental music was very much more widespread than historians are inclined to think, and he does not agree with them that it developed much later than vocal music. The evidence he brings forward has never before been presented at all comprehensively in English. Of particular interest is the considerable amount of useful information, some of it new, on the structure and functions of early instruments and the kind of music that was played on them. To quote from the preface: 'The assertion may as well be made at this moment that this music of the past, including that of the Middle Ages, is not properly regarded as archaic or experimental, but must be considered as no less perfect in its own way than that of later musicians.... Pianists and organists have been slow to appreciate both the backward reach of their tradition in European history and the fineness and quality of the older music. Fifteenth-century organ composition has a charm of its own, once the nature of the style is grasped, while the keyboard music of the Renaissance is a mine of riches only waiting to be discovered. Even music of the Baroque period, so varied and so intense in its expression, is not fully appreciated. It is for this reason that my book has been written, and with the hope that after this introduction some will seek out and perform the music for themselves.'"--Dust jacket.;

650 0 a| Harpsichord musicx| History and criticism.=| ^A31209;

650 0 a| Organ musicx| History and criticism.=| ^A31208;

919 a| BOOK;

596 a| 3;

998 a| 137428;

999 a| ML549.B4 K4w| LCc| 1i| 310372001133472d| 3/2/2017e| 12/9/2016f| 7/7/2025g| 5l| MCSm| JMUSICn| 6q| 1r| Ys| Yt| MCSSBKu| 4/9/1986x| BOOKz| MCIRCo| .STAFF. enhanced 10/30/24 -jjab;

Keyboard music from the Middle Ages to the beginnings of the Baroque / by Gerald Stares Bedbrook.

Author/creator	Bedbrook, Gerald Stares
Format	Book
Publication Info	London : Macmillan and Co., Limited, 1949.
Description	xvi, 170 pages, xii leaves of plates : illustrations (1 color), music, portraits ; 22 cm
Subjects	Harpsichord music--History and criticism. Organ music--History and criticism.

Contents	Part I. The Medieval period. I: The ancient and Medieval organ. Origins of the term organ : the use of the organ in the Middle Ages ; Medieval compositions : the Robertsbridge fragment -- II: The fourteenth century. The organ in the Ars Nova period ; The clavichordium and clavicymbalum ; The Florentines : Francesco Landini : some account of organ playing in France -- III: The fifteenth century. Fifteenth-century organs and organists ; Italy (Squarcialupo) ; Flanders ; Germany : early German tablatures ; The Sagan, Winsem, and Breslau MSS. ; The Ileborgh tablature ; Conrad Paumann : the Fundamentum Organisandi ; The Buxheim organ book ; The Preambula ; Some late fifteenth-century organists and clavichordists : the fifteenth-century organ -- IV: Early sixteenth-century organ and keyboard music. Late Medieval and early Renaissance tendencies : early German: (a) Arnolt Schlick, (b) Paulus Hofhaimer and his school : Leonhard Kleber ; Contemporaries : French and English keyboard music ; Later German schools --
Contents	Part II. The Renaissance. V: Sixteenth-century Italy. The Renaissance of music : Venice ; The instrumental forms of the Italian Renaissance : the Ricercar and Fantasia ; Early Italian organ music ; Marco Antonio di Bologna ; The first Venetian school: (a) Adrian Willaert, (b) Jachet Buus ; Girolamo Cavazzoni (the younger) of Urbino ; The Spanish school : Antonio Cabezon -- VI: The second Venetian school. Types of composition ; The sixteenth-century organ ; The clavicembalo and clavichord (manicordo) ; The organists of St. Mark's, Venice ; Andrea Gabrieli ; Claudio Merulo ; Giovanni Gabrieli ; Contemporary keyboard composers --
Contents	Part III. The North European schools and the beginnings of the Baroque. VII: Song and dance forms : the variation form -- VIII: The North European schools : the Netherlands and England. Jan Pieterszoon Sweelinck ; The English school -- IX: The beginnings of the Baroque keyboard schools. Girolamo Frescobaldi ; General tendencies after the Sweelinck and Frescobaldi periods -- X: The technique of early keyboard music.
Abstract	"The author believes that early instrumental music was very much more widespread than historians are inclined to think, and he does not agree with them that it developed much later than vocal music. The evidence he brings forward has never before been presented at all comprehensively in English. Of particular interest is the considerable amount of useful information, some of it new, on the structure and functions of early instruments and the kind of music that was played on them. To quote from the preface: 'The assertion may as well be made at this moment that this music of the past, including that of the Middle Ages, is not properly regarded as archaic or experimental, but must be considered as no less perfect in its own way than that of later musicians.... Pianists and organists have been slow to appreciate both the backward reach of their tradition in European history and the fineness and quality of the older music. Fifteenth-century organ composition has a charm of its own, once the nature of the style is grasped, while the keyboard music of the Renaissance is a mine of riches only waiting to be discovered. Even music of the Baroque period, so varied and so intense in its expression, is not fully appreciated. It is for this reason that my book has been written, and with the hope that after this introduction some will seek out and perform the music for themselves.'"--Dust jacket.
General note	Includes index.
Bibliography note	"Selected bibliography": pages 146-155. "Recorded music": pages 156-160.

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Keyboard music from the Middle Ages to the beginnings of the Baroque / by Gerald Stares Bedbrook.

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