SKU: UT.LB-7

ISBN 9788881094561. 6.5 x 9.5 inches.

Proiezione in origine dei valori e dei miti di una tragica militanza ideologica, la nozione di Umanesimo civile – l’idea di una epocale convergenza tra la mutazione culturale promossa dagli umanisti e i valori sociali e politici espressi dalle repubbliche cittadine del primo Rinascimento – si carica volentieri di una responsabilità di paradigma metastorico che la critica ha persuasivamente contestato. D’altra parte la nozione non sembra sostenere nemmeno la più ristretta accezione di un’esperienza culturale unitaria, di «una maniera propria dell’Umanesimo fiorentino, diversa da quella degli altri gruppi umanistici», troppo profonde risultando le differenze, su aspetti ideologici fondamentali, tra i letterati fiorentini così evocati. Tuttavia il concetto di Umanesimo civile rimane storiograficamente rilevante, confermando l’insistenza di Hans Baron sulla peculiarità dell’esperienza fiorentina, se si limita a riassumere la convergenza tra la rivoluzione culturale e l’elaborazione politica di una specifica vicenda cittadina, protagonista il ceto che in risposta alla rivolta dei Ciompi diede vita alla repubblica oligarchica, a sua volta infine esautorato dall’egemonia medicea. Un primo risultato di questa constatazione è una più incisiva inclusione del movimento artistico nella dimensione dell’Umanesimo civile, non in un ruolo collaterale e subalterno rispetto ai letterati, ma in quello di protagonista, di inoltrato avamposto di una nuova forma mentis, di una aurorale nuova coscienza filosofica e scientifica: un risultato che mette in discussione anche tradizionali convinzioni sulla radicale inettitudine dell’Umanesimo alla scienza. Secondo, cospicuo esito di una più puntuale definizione sociologica, la nozione proposta da Baron e dalla sua scuola non esaurisce con la caduta della repubblica oligarchica la sua pertinenza alle convinzioni e ai comportamenti del patriziato, il quale in effetti continuò largamente e a lungo a coltivare l’immagine di sé creata dall’Umanesimo civile, sebbene ormai non come orgogliosa affermazione del proprio potere, ma come difesa della propria identità sociale e di residue prerogative politiche. In realtà, assai più che non risulti ad una omogeneizzante «storiografia della decadenza», un inconciliabile conflitto di culture percorre il Rinascimento fiorentino in tutta la sua durata, investendo gli orientamenti filosofici, le concezioni artistiche e letterarie, intrecciandosi con le convulsioni politiche della città e con la tragedia della restaurazione confessionale. È appunto in tale intreccio che si possono cogliere, sino a fine Cinquecento, le ultime risonanze dell’Umanesimo civile.
È sembrato importante richiamare l’attenzione da questo punto di vista su personaggi, circostanze ed episodi storiograficamente noti per altri versi: sul magistero intellettuale di Piero Vettori, nella politica culturale del principato mediceo rimasto un corpo estraneo, una testimonianza di valori della tradizione fiorentina mortificati dall’assolutismo e dall’omologazione confessionale; su un aristotelismo umanistico e laico chiamato a fronteggiare il neoplatonismo di regime e a fecondare in termini ideologicamente non neutrali i dibattiti sulla Poetica e sulla teoria musicale; sull’Accademia degli Alterati, luogo di culto di memorie repubblicane e, in qualche momento, sospettabile punto di incontro del dissenso politico. È sembrato infine che la nozione di Umanesimo civile potesse plausibilmente e fecondamente raccordare l’invenzione del melodramma – L’Euridice di Peri, Rinuccini e Corsi per le nozze di Enrico IV e Maria de’ Medici – alle tradizioni culturali, agli interessi sociali, ai sentimenti e progetti politici coltivati dai suoi promotori, Florentini cives non rassegnati alla subalternità e all’alluvione antiumanistica.

SKU: HL.14046656

ISBN 9788850705757.

An important book for studying or teaching Jazz Guitar, Umberto Fiorentino's La Chitarra Jazz takes the reader from theory, scales and intervals, through to practical exercises by way of valuable advice and helpful diagrams. Includes an accompanying CD.

SKU: HL.14047520

ISBN 9788850726042.

Flute solo and guitar solo are splitted on L/R channels on CD tracks.

SKU: HL.14047338

ISBN 9788850720804.

Easy Classical Themes for Classical Guitar by Antonio Ongarello.

SKU: HL.14047611

ISBN 9788850727575.

SKU: HL.14047378

ISBN 9788850723973. Italian.

SKU: CU.EC3009

SKU: CF.CM9588

ISBN 9781491154106. UPC: 680160912605. 6.875 x 10.5 inches. Key: Eb major. Latin. Traditional Latin.

Tomas Luis de Victoria (15481611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victorias time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [v??bum k??? p?n?m v?rum] verbo carnem efficit: fitque sanguis Christi merum. [v??b? k??n?m ??fit?it fitkw? s??gwis k?isti m??um] Et si sensus deficit, ad firmandum cor sin cerum. [?t si s?nsus ?d?fit?it, ?d fi??m?ndum k?? sin t???um] Jeb Mueller.
TomA!s Luis de Victoria (1548a1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoriaas time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is ao,a which sounds similar to the English words bought and got. The letter ata should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of asa should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [vEE 3/4 bum kEE 3/4 E pEnEm vErum] verbo carnem efficit: fitque sanguis Christi merum. [vEE 3/4 bE kEE 3/4 nEm EEfitEit fitkwE sEAgwis kE 3/4 isti mEE 3/4 um] Et si sensus deficit, ad firmandum cor sin cerum. [Et si sEnsus EdEfitEit, Ed fiE 3/4 EmEndum kEE 3/4 sin tEEE 3/4 um] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from the first of those and incorporates the original Roman melody, or cantus firmus. (He composed his second Pange lingua based on a Spanish melody.) The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomas Luis de Victoria (1548-1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano. The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance. Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria's time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity. PRONUNCIATION GUIDE Victoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is o, which sounds similar to the English words bought and got. The letter t should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of s should be soft and never hardened to [z], such as in praise. Verbum caro, panem verum, [verbum karo panem verum] verbo carnem efficit: fitque sanguis Christi merum. [verbo karnem 'efitSit fitkwe saNGgwis kristi merum] Et si sensus deficit, ad firmandum cor sin cerum. [et si sensus 'defitSit, ad fir'mandum kor sin tSerum] Jeb Mueller.
Tomás Luis de Victoria (1548–1611) is widely considered the greatest Spanish Renaissance composer and one of the most influential musicians of his time. Included in his oeuvre are two settings of the Pange lingua, both produced in 1581. This motet is excerpted from Pange lingua more hisapano.The baritones anchor the motet by singing the tune in augmentation. This line should be intoned with a flowing, legato articulation that incorporates subtle phrasing and text stresses. The more rhythmic tenor and bass lines complement the melody and illustrate the hopeful nature of its text. Singing this piece with two pulses per measure will encourage a steady and vital performance.Composers provided minimal performance details in their scores during this period in music history, so I added a time signature, bar lines, dynamics, and metronome markings in order to facilitate performances that musicologists believe mimic those of Victoria’s time. It should be noted that dynamics are largely subjective, so performers may make alternative choices. Each tenuto indicates word stress; the most musical performances will incorporate gentle crescendos and decrescendos before and after each of them. Lastly, using minimal vibrato, especially at cadences, will imbue this wonderful motet with style and clarity.PRONUNCIATION GUIDEVictoria received much of his training in Italy, therefore making Italianate Latin most appropriate. Pure vowels are critical to correct pronunciation, and those phonemes remain constant without exceptions. The most problematic of the vowels is “o,” which sounds similar to the English words bought and got. The letter “t” should be produced dentally: lift the tongue to the top of the mouth as in English, but aspirate less on the release. All occurrences of “s” should be soft and never hardened to [z], such as in praise.Verbum caro, panem verum,[vɛɾbum kɑɾɔ pɑnɛm vɛrum]verbo carnem efficit: fitque sanguis Christi merum.[vɛɾbɔ kɑɾnɛm ˈɛfitʃit fitkwɛ sɑŋgwis kɾisti mɛɾum]Et si sensus deficit, ad firmandum cor sin cerum.[ɛt si sɛnsus ˈdɛfitʃit, ɑd fiɾˈmɑndum kɔɾ sin tʃɛɾum]Jeb Mueller.

SKU: UT.LB-27

ISBN 9788881094974. 5.51 x 8.26 inches.

La pubblicazione di questo doppio carteggio trova la sua ragion d’essere nel voler rappresentare il grande interesse di Mario Castelnuovo-Tedesco verso il mondo della chitarra, così come si presentava negli anni ’50 e ’60 del secolo scorso.
Esso si articola in due sezioni: la prima comprende nove lettere a Mario Gangi e la seconda altrettante a Carlo Carfagna, integrate dalla riedizione della serie di scritti commemorativi apparsi su Chitarra e Musica (supplemento mensile della rivista Strumenti e Musica) subito dopo la morte del Maestro, avvenuta il 16 marzo 1968.
L’arco temporale di tale corrispondenza copre quattordici anni; dall’aprile 1954 al luglio 1965 quella di Mario Gangi e dal luglio 1964 al gennaio 1968 quella di Carlo Carfagna. La maggior parte delle lettere sono spedite dalla residenza statunitense di Castelnuovo-Tedesco a Beverly Hills, due dalla sua casa fiorentina di via dei Bardi.
Dagli scritti di Castelnuovo-Tedesco emerge l’aspetto professionale, mai autocelebrativo, in cui egli elenca affettuosamente la quasi totalità delle sue opere per chitarra. Contemporaneamente, ci fornisce uno spaccato del mondo musicale e chitarristico di quel periodo, senza risparmiare maliziose osservazioni su Stravinsky e Segovia.
D’altro canto ne fanno da contrappunto gli aspetti umani e personali, dove addirittura egli si lascia andare all’autoironia e alla manifestazione delle proprie intime emozioni.
Fa parte del carteggio con il giovane Carfagna anche la celebre prefazione al Profilo Storico della Chitarra, in cui il Maestro fiorentino ha lasciato intendere gran parte della propria poetica chitarristica.
Brevi ma esaurienti annotazioni accompagnano il lettore.