Storia Della Musica: Volume 1 Metadata
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Title
- Main Title Storia Della Musica: Volume 1
- Parallel Title Music History: Volume 1
Creator
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Author: Martini, Giovanni Battista, 1706-1784Creator Type: Personal
Contributor
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Engraver: Valleta, NicolausContributor Type: PersonalContributor Info: Portrait of Maria Barbara of Portugal
Publisher
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Name: Lelio dalla VolpePlace of Publication: Bologna, ItalyAdditional Info: In Bologna MDCCLVII. Per Lelio dalla Volpe, Impressore dell' Instituto delle Scienze, con Licenza de' Superiori.
Date
- Creation: 1757
Language
- Italian
Description
- Content Description: Copy of the first of three volumes of "Storia della musica" (Music History) containing eleven chapters and three dissertations. The text describes various topics related to music history including music classification, early music in biblical descriptions, music theories, singing and harmonies, church music, and musical notations.
- Physical Description: vii, 507 p. : ill. ; 43 cm.
Subject
- Library of Congress Subject Headings: Music -- History and criticism -- Early works to 1800.
Primary Source
- Item is a Primary Source
Relation
- Storia della musica, volume 3, ark:/67531/metadc25966/?q=storia
Collection
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Name: Virtual Music Rare Book RoomCode: VRBR
Institution
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Name: UNT Music LibraryCode: UNTML
Resource Type
- Book
Format
- Text
Identifier
- OCLC: 33868065
- UNT Catalog No.: b1885849
- Call Number: ML159 .M3 1757 v.1
- Archival Resource Key: ark:/67531/metadc31509
Note
- Display Note: Full title as appears in the t.p. of vol.1: "Storia della musica, tomo primo. Alla sacra Reale Cattolica Maestà Maria Barbara, Infanta di Portogallo, Regina delle Spagne, ec. ec. ec."
- Display Note: This is a copy of the first of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. Each volume bears a different dedicatee: v.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The t.p. of this volume is printed in red and black ink and decorated with a border that depicts various musical instruments and includes a pastoral scene depicting Euterpe, the muse of music, holding a lyre and a horn as allegory of a scepter, and accompanied by various putti singing or playing musical instruments. Each page of the book is decorated with an ornamented border. The volume is divided in eleven chapters and three dissertations. The start of each chapter and each dissertation features, within an ornamented oval-shaped frame, the notated music of a canon in a five-line staff with underlaid text taken from passages in the book of Psalms and other books of the Old Testament. This volume includes an engraved portrait of Martini by an unknown engraver and one illustration by Nicolaus Valleta depicting Queen Maria Barbara of Portugal in the company of several mythology figures, such as Apollo and Minerva, among others. At the center top appears a crown and a banner with the Latin inscription, "Hoc offer Regina, Tibi Lectum undique manus. Et vult esse tuum Musica quid quid Habet." At the bottom appears the coat of arms of the Spanish crown. The first chapter explains the purpose of the volume and defines three classifications of music as defined by Boethius in the medieval ages: mundana (produced by the motion of planets and celestial bodies), humana (loosely translated as music of the body and soul), and instrumentalis (this kind produced by the human voice and musical instruments). Chapters 2-11 are devoted to some aspect of music covering various biblical ages starting with the story of the creation, as told in the Book of Genesis, throughout the lives of the Jewish patriarchs (Moses, David, and Solomon), and the encounter of the Hebrews with other eastern peoples. The first dissertations argues about human natural singing and discusses theoretical concepts such as Greek music theory, scales and division of tetrachords. The second dissertation argues about the ancient manner of singing in harmony as taught by Zarlino and other music theoreticians. This part discussed the evolution of music notation from heightened neumes to the invention of four-line staff and square notation, to the five-line staff and Renaissance music notation. The third dissertation discusses the influence of Hebrew vocal and instrumental church music.
- Digital Preservation: creationAppName: Omniscan creationAppVersion: 11 creationHardware: Zeutschel OS 10000