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Simone Verovio
Music printing, intabulations and basso continuo in Rome around 1600
Großformatiges Paperback. Klappenbroschur
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ISBN-13:
9783205205067
Veröffentl:
2018
Einband:
Großformatiges Paperback. Klappenbroschur
Seiten:
395
Autor:
Augusta Campagne
Gewicht:
750 g
Format:
240x171x25 mm
Serie:
13, Wiener Veröffentlichungen zur Musikgeschichte
Sprache:
Englisch
Beschreibung:
Augusta Campagne teaches basso continuo and harpsichord at the University of Music and Performing Arts, Vienna Augusta Campagne ist ao. Univ.-Prof. für Cembalo und basso continuo an der Universität für Musik und darstellende Kunst in Wien
Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsichord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the editions associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides ground-breaking insights into historical performance practice.
Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsichord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the editions associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides ground-breaking insights into historical performance practice.
Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsichord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the editions associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides ground-breaking insights into historical performance practice.