4 books for « ticli b »Edit

‎Figured Bass Accompaniment in Europe‎

‎, Brepols, 2024 Hardback, xiv + 424 pages, Size:210 x 270 mm, Illustrations:43 b/w, 12 tables b/w., 75 musical examples, Language(s):English, Italian. ISBN 9782503608518.‎

‎Sixteen internationally-renowned scholars map the figured bass accompaniment in Europe through a wide timespan: from the early-seventeenth-century Germany to late continuo realisations by Johannes Brahms and Robert Franz. Summary At the very end of his new and charming chapter included in this volume, Thomas Christensen sensuously claims that for each generation, figured bass has something new to say, though it rarely gives up its secrets without a fight. This book, therefore, attempts to do justice to the fight lead by sixteen internationally-renowned scholars who ventured mapping the figured bass accompaniment in Europe through a wide timespan: from the early-seventeenth-century Germany to late continuo realisations by Johannes Brahms and Robert Franz. The volume also addresses several issues such as different ways to sketch and write extensively the instrumental accompaniment, its rendition into practice and how to teach and apply formulas for improvising (and realising) a contrapuntal texture over the bass. For the first time, counterpoint, basso continuo and partimento are put into dialogue, overcoming terminological antinomies and underlining the points of continuity amongst different accompaniment practices in France, Germany, England and Spain for over three centuries. Case studies shed some lights on accompaniment of specific instruments such as cello and guitar. TABLE OF CONTENTS Figured Bass Accompaniment in Europe Livio Ticli (ed.), 2023 Livio Ticli, Introduction: Figured Bass in the European Tradition: Continuities and Changes of a Practice Through Alps and Pyrenees To the Sea: Continuity and Discontinuity in Performance Practice 1. David Chung, The Significance of the Preludes with Figured Bass in F-Pn Vm8 1139 for Keyboard Pedagogy in Early Eighteenth-Century France 2. Clotilde Verwaerde, The Three-voice Texture in Eighteenth-Century French Continuo 3. Marie Demeilliez, The Encyclop die ou Dictionnaire raisonn des sciences, des arts et des m tiers (1751-1772): A Source for Basso Continuo Accompaniment in Eighteenth-Century France 4. Isaac Alonso de Molina, Acompa amientos con las llamadas del Baxo y lo que se puede tocar sobre cada uno de ellos : partimenti diminuiti in Manuscript M/1188 of the Biblioteca Nacional de Espa a (Madrid) 5. Michael Fuerst, Hieronymus Praetorius, Multiple-Bass Notation in Organ Parts, and Continuo Performance Practices of Polychoral Music in the Hanseatic Cities of Northern Europe Connected by Strings: Cello Accompaniment Performance Practice 6. John Lutterman, Partimento, German Thoroughbass Practice, and Improvised Solo Performance on the Cello 7. Hilary Metzger, National Styles in Lower String Accompaniment of Secco Recitative in the Late 18th and Early 19th Centuries From the Page to the Performance through Space and Time 8. Valeria Mannoia, Per ogni tradizione il suo basso. I bassi seguenti italiani in alcune antologie tedesche del Seicento 9. Francesca Mignogna, Il basso continuo nelle composizioni per i defunti di Pierre-Louis Pollio (1724-1796). Uso, notazione e problematiche relative all?edizione moderna della partitura 10. Anthony Abouhamad, The Principles of Partitura Playing: An Introduction to Basso Continuo Instruction and Practice in Eighteenth-Century Salzburg 11. Martin Ennis, Quod licet Bacho non licet Francisco : A New Perspective on the Continuo Realisations of Johannes Brahms and Robert Franz Basso Continuo and Partimento as a Pedagogical Tool Then and Now 12. Thomas Christensen, Figured Bass: Then and Now 13. Stephan Lewandowski, With regard to the Now Prevailing Taste in Music : The Music Theoretical Work of Johann Gottfried Vierling (1750-1813) 14. Matthew Mazanek, Improvisation Pedagogy in Nineteenth-Century Guitar Education 15. Justin Ratel, Repurpose and Transformation of an Educational Material: Figured Bass as a School Practice in the Early Years of the Paris Conservatory 16. Thomas Allery, Thorough Bass Made Easy: The Pedagogical Value of Figured Bass in Musical Education Today 17. Livio Ticli, Basso Continuo as a Concertato Practice: Vocal-Instrumental Improvisation, Ornamentation and Counterpoint‎

‎Early Music Pedagogy Then and Now. From the Classical Antiquity to the Renaissance‎

‎, Brepols - Harvey Miller, 2025 Hardcover, Pages: xxxii + 448 pages, Size:210 x 270 mm, Illustrations:41 b/w, 9 tables b/w., 113 music examples Language(s):English, Italian. * new. ISBN 9782503615660.‎

‎Summary This volume explores various aspects of early music teaching (Historically Informed Music Pedagogy), performance, and theory. Contributions from thirteen scholars address topics ranging from the ancient Greek instrument helik?n used for musicians? training to the evolution of the viola bastarda technique linking historical practices with modern applications. Significant attention is given to methodological reflections on early music pedagogy, the reconstruction of incomplete pieces as a method for teaching counterpoint, and the role of improvisation and the creative process in vocal and instrumental music. Additional sections tackle the teaching of ornamentation, contrappunto alla mente and solmisation, with discussions on the status of Musica Practica and its philosophical and educational implications today. New perspectives are offered on Guido of Arezzo with an innovative contribution on the Dialogus de musica . TABLE OF CONTENTS Marcello Mazzetti ? Livio Ticli, New Perspectives on Early Music: The Role of the Historically Informed Music Pedagogy Section 1: Ancient and Medieval Foundations of Music Theory Massimo Raffa, La geometria delle consonanze. Un antico strumento musicale greco fra teoria e pratica Angelo Rusconi, Reopening a Cold Case: Guido (of Arezzo) Author of the Dialogus de musica in Pomposa? Section 2: Renaissance Music Pedagogy and Self-Instructed Musicians Adam Knight Gilbert, Singing and Sighting with Solmization in Performance and Pedagogy (c. 1450-1521) Galliano Ciliberti, Essere autodidatta in musica a Perugia nel Rinascimento: il caso di Raffaello Sozi (1529-1589) con l?edizione dei suoi trattati di musica Carmela Barbaro, Early Music in Contemporary Curricula: Polyphonic Reconstruction as Pedagogical Tool Section 3: The Art of Improvisation in Early Music Niels Berentsen, The Slow Death of Medieval Discant: Considering the longue dur e in Historical Improvisation Pedagogy James Hewitt, Limitation and Transformation as Creative Process in Solo Improvisation: A Study of the Sixteenth-Century Ricercar as Model Catherine Bahn, Viola bastarda: Expanding the Role of the Viol through Improvisatory and Pedagogical Techniques Section 4: Historical Music Pedagogy and Modern Applications Isaac Alonso de Molina, Musica Practica: Genesis, Structure and Implications of the Pre-modern Discipline of Music Marcello Mazzetti, Towards a ?Historical Music Pedagogy?: Rediscovering the Role of the Cantor through an Integrated Approach Livio Ticli, Learning Renaissance and Baroque Music Improvisation Improvisationally: Teaching and Inspiring a New Generation of Singers and Players Sarah Mead, Old Maps for New Explorers: Insights of an Esperiential Approach to Teaching Early Music Afterword Stefano Lorenzetti, Initium sapienti est timor Domini . Per una pedagogia delle virt musicali tra passato, presente e futuro Abstracts and Biographies‎

‎Votre herbier, 160 plantes médicinales‎

‎Editions de Vecchi 2006, album relié toile éditeur avec sa jaquette illustrée, 218pp avec des planches hors texte en couleurs et bien complet de sa planche hors texte sur feuille volante - très bon état‎

‎VOTRE HERBIER‎

‎Un ouvrage de 218 pages, format 230 x 310 mm, relié cartonnage sous jaqette couleurs, publié en 2006, Editions De Vecchi, bon état‎

‎160 plantes médicinales‎