Copyright (c) 2013 Southern Illinois University Carbondale All rights reserved. http://opensiuc.lib.siu.edu/safmusiccharts_faculty Recent documents in Faculty Charts en-us Sat, 26 Jan 2013 23:59:46 PST 3600 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/14 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/14 Wed, 24 Mar 2010 21:04:28 PDT Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/13 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/13 Wed, 24 Mar 2010 20:59:50 PDT Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/12 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/12 Mon, 22 Mar 2010 13:07:45 PDT Other semiotic charts are available on the openSIUC website.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/11 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/11 Mon, 22 Mar 2010 13:04:45 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/10 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/10 Mon, 22 Mar 2010 13:01:47 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/9 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/9 Mon, 22 Mar 2010 13:01:46 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/8 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/8 Mon, 22 Mar 2010 12:56:06 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart. chapter on ornamentation and performance practice.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/7 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/7 Mon, 22 Mar 2010 12:53:24 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/6 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/6 Mon, 22 Mar 2010 12:49:31 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart. chapter on ornamentation and performance practice.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/5 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/5 Mon, 22 Mar 2010 12:23:39 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/4 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/4 Mon, 22 Mar 2010 09:33:30 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart. Comparisons spring from Quantz’s description of “A serious concerto for a single solo instrument with a large accompanying body requires the following characteristics in its first movement.” Historical, hermeneutic, and analytical perspectives of these works are presented, with an appended chapter on ornamentation and performance practice.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/3 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/3 Mon, 22 Mar 2010 09:33:29 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/2 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/2 Mon, 22 Mar 2010 09:33:29 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen http://opensiuc.lib.siu.edu/safmusiccharts_faculty/1 http://opensiuc.lib.siu.edu/safmusiccharts_faculty/1 Mon, 22 Mar 2010 08:30:40 PDT Structural designs that grew around the basic framework of the eighteenth century flute concerto genre can only be seen when studying a number of concerti at once, using common criteria for evaluation and analysis. Semiotic charts show how these works were varied and refined over the fifty-year period being investigated, beginning with Antonio Vivaldi’s Flute Concerti, Op. 10, including the concerti of Naudot, Blavet, Quantz, C. P. E. Bach, J. C. Bach, and concluding with the concerti of Wolfgang Amadeus Mozart.

]]> Douglas Worthen