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Momie

Description: This is a ca. 1778 libretto for the burlesque opera in three acts "Momie" by a Jean Étiennethat Despréaux. The opera is a parody based on Leblanc du Roullet's libretto of "Iphigénie en Aulide," an opera by Christoph Willibald Gluck. The libretto includes the titles of the tunes at the opening of each scene. Page 6 of the library's copy is incorrectly numbered as page 9.
Date: 1778?
Creator: Despréaux, Jean Étienne, 1748-1820.

Pigmalion

Description: This is the 1773 edition of the libretto to the comic opera and vaudeville, "Pigmalion" by Charles-François Panard and Thomas Laffichard. The opera premiered at the Paris Opéra Comique in 1735 . The plot is an adaptation of Ovid's story of Pygmalion, a sculptor who fell in love with a statue that he carved. Operatic and ballet representation of the subject of Pigmalion (or Pygmalion) became famous after Antoine Houdar de la Motte's entrée "La sculpture" for the ballet "Le triomphe des arts," which staged in 1700 at Académie Royale de Musique with music by Michel de la Barre. Page 16 of this edition was incorrectly numbered as number 10.
Date: 1773
Creator: Panard, Charles-François, d. 1765.

Plain and easy introduction to practical music

Description: In 1597, while Morley was negotiating for the patent, he wrote his musical treatise, A Plaine and Easie Introduction to Practicall Musicke. Although his preface contains the statement that he had “nothing better to do,” Morley probably knew publishing a treatise on the science of music would boost public interest in purchasing musical works. In addition, by publishing such a work, the English audience would view Morley as an authority in music (and he would become more likely to obtain the patent) (Smith, “Print Culture and the Elizabethan Composer,” 163). The work is practical, and is organized into three sections: teaching to sing simple song, teaching to sing two parts over a plainsong or ground, and teaching counterpoint.
Date: 1771
Creator: Morley, Thomas, 1557-1603?

Storia della musica

Description: This is a copy of the second 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. It also features an illustration of a minotaur and a young boy (presumably, the god Apollo) holding a lyre. This volume is divided in nine 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 works by Hesiod, Homer, Anacreon, and Sophocles. The book contains maps of Greece and Asia Minor, as well as a table that summarizes the divisions of the breve and prolations translated to 18th century musical notation practice. Chapter 1 discusses the origins of music according to precepts passed down from antiquity and Greece as well as the theory of musical intervals. Chapter 2 discusses several Greek mythological figures and a history of the invention of the lyre per Homer. It also mentions Greek authors and use of instruments in Greek festivities. Chapter 3 presents stories of Greek gods and demigods by Ovid and Homer, among others. Chapter 4 includes Virgil's story of Orpheus (the son of Apollo) and his attempted rescue of his dead wife Eurydice from Hades. The chapter contains references to the role of music in that story. Chapter 5 is about the role of music in the cult of Cybele (in Greek mythology, the mother of all gods). It also mentions names of people mentioned by Plutarch ...
Date: 1770
Creator: Martini, Giovanni Battista, 1706-1784.