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dc.contributor.authorGriffiths, John
dc.date.accessioned2020-01-25T15:02:45Z
dc.date.available2020-01-25T15:02:45Z
dc.date.issued2019
dc.identifier.citationEsperanza Rodríguez-García and Daniele V. Filippi (eds.), Mapping the Motet in the Post-Tridentine Era, New York, 2019es
dc.identifier.isbn978-1-138-20710-3es
dc.identifier.urihttp://uvadoc.uva.es/handle/10324/40354
dc.descriptionProducción Científicaes
dc.description.abstractThe motet was a central if not pivotal element in solo instrumental practice during the entire sixteenth century. Throughout this period, vocal polyphony was habitually re-notated in specifically instrumental notations for a variety of reasons. Whereas our modern historiographical tradition concerning Renaissance music continually divides instrumental and vocal music into separate streams, this produces a false picture of the role of instruments and instrumental music. We need to remind ourselves that, while there were many virtuoso instrumentalists who achieved legendary status during their lifetime, it can be supposed that nearly every composer or singer of polyphonic music would have been proficient on some kind of polyphonic instrument.es
dc.format.mimetypeapplication/pdfes
dc.language.isoenges
dc.publisherRoutledgees
dc.rights.accessRightsinfo:eu-repo/semantics/openAccesses
dc.rights.urihttp://creativecommons.org/publicdomain/zero/1.0/*
dc.titleSongs without words. The motet as solo instrumental music after Trentes
dc.typeinfo:eu-repo/semantics/bookPartes
dc.identifier.publicationtitleMapping the Motet in the Post-Tridentine Eraes
dc.description.projectEste trabajo forma parte del proyecto de investigación “La obra musical renacentista: fundamentos, repertorios y prácticas” HAR 2015-70181-P (MINECO/FEDER, UE)es
dc.rightsCC0 1.0 Universal*
dc.type.hasVersioninfo:eu-repo/semantics/publishedVersiones


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