By Charles E. Brewer
In line with fundamental resources, a lot of that have by no means been released or tested intimately, this publication examines the tune of the past due 17th-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved within the broad Moravian files in Kromeriz.
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In accordance with basic resources, lots of that have by no means been released or tested intimately, this publication examines the tune of the past due 17th-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved within the huge Moravian records in Kromeriz.
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Additional resources for The Instrumental Music of Schmeltzer, Biber, Muffat and Their Contemporaries
Stylus Phantasticus and Stylus Hyporchematicus respexisse per 10. gradus, veluti per 10. Naturæ Registra demonstratur. [A Synopsis of the Musurgia universalis, condensed into ten books, of which the first seven are contained in Volume 1 and the remaining three in Volume 2. Book I, Physiology, demonstrates the genesis of natural sounds, and the nature and peculiarity of their effects. Book II, Philology, seeks after the first institutes and propagation of artificial sounds or music. Book III, Arithmetic, teaches the knowledge of harmonic motions through numbers and the new musical algebra.
The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries in Sicily, in addition to his observations on natural science, he also recorded the local legends concerning the musical antidote to a tarantula bite, the tarantella, and included various examples of the actual music used in this region. 7). 1 Tarantella Performers10 Kircher’s first discussion of tarantism and his musical examples are in Magnes sive De Arte Magnetica, pp. 865–91; apparently some editions have different paginations.
While Athanasius Kircher, Itinerarium Exstaticum (Rome: Vitalis Mascardi, 1656). There was a second edition published with extensive commentaries by his student, Gaspar Schott (1608–66): Athanasius Kircher, Iter Exstaticum (Würzburg: The Heirs of Johann Andreas and Wolfgang Endter, 1660). See below concerning the concert that Kircher described as part of the inspiration for this work. ), Athanasius Kircher: The Last Man Who Knew Everything (New York and London: Routledge, 2004). , ed. Ulf Scharlau, Hildesheim: Georg Olms Verlag, 1970).
The Instrumental Music of Schmeltzer, Biber, Muffat and Their Contemporaries by Charles E. Brewer