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| Preface | ||
| 1 | Introduction | 1 |
| Pt. I | Music in the Theatre | |
| 2 | From Literes to Nebra: Spanish dramatic music between tradition and modernity | 7 |
| 3 | Opera and ballet in public theatres of the Iberian peninsula | 17 |
| 4 | Financial management at the Teatro de los Canos del Peral, 1786-99 | 29 |
| Pt. II | Vocal Music, Sacred and Secular | |
| 5 | Liturgical music with orchestra, 1750-1800 | 53 |
| 6 | Italianate sections in the villancicos of the royal chapel, 1700-40 | 72 |
| 7 | An unknown repertory: the cantatas of Jayme de la Te y Sagau (Lisbon, 1715-26) | 80 |
| 8 | Spanish cantatas in the Mackworth collection at Cardiff | 108 |
| Pt. III | Symphonic Music | |
| 9 | Austrian symphonies in the Royal Palace, Madrid | 125 |
| 10 | Iberian symphonism, 1779-1809: some observations | 144 |
| 11 | The symphony in Catalonia, c. 1760-1808 | 157 |
| Pt. IV | Instrumental Music | |
| 12 | Musical instruments: tradition and innovation | 175 |
| 13 | 'El diablo vestido de fraile': some unpublished correspondence of Padre Soler | 192 |
| 14 | The Villahermosa manuscript: an important source of late eighteenth-century Spanish keyboard music | 207 |
| 15 | Some unpublished works of Jose Elias | 214 |
| 16 | The rise of the modern guitar in Spain | 222 |
| Pt. V | Spanish Music in the New World | |
| 17 | Cathedral music in Spanish America | 243 |
| 18 | Eighteenth-century Spanish music in Mexico | 252 |
| Index | 257 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
MIKE MEADOWS
reviewed Music in Spain during the Eighteenth Century on April 16, 2017
Music in Spain during the Eighteenth Century
This is an amazing, amazing book that deserves so much more recognition than it is likely getting. Anyone who rates it less than "five stars" doesn't understand its significance. It really isn't even something you can rate. It's an American classic, a historic document.
Imagine a young single white woman in the late 1800's taking to the road, by herself or sometimes with some company, to visit what remains of the major Native American tribes in the United States. Imagine creating enough of a relationship with the elders of each of these tribes to record some of their most sacred chants and songs (includes the actual music scores). Imagine capturing some of their images with cameras of that time. Natalie Curtis knew Native Americans as they might have been before European colonialism, were on the verge of extinction. As is said in other reviews, this is nothing less than a seminal work all the more tragic because she was killed just a few days after presenting it at the Sorbonne.
This book is an American treasure and classic that preserves and honors not only Native American tribes but the compassion and vision of Natalie Curtis herself.
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