| 000 | 01313 a2200265 4500 | ||
|---|---|---|---|
| 001 | 1138968153 | ||
| 005 | 20250317100357.0 | ||
| 008 | 250312042015GB eng | ||
| 020 | _a9781138968158 | ||
| 037 |
_bTaylor & Francis _cGBP 48.99 _fBB |
||
| 040 | _a01 | ||
| 041 | _aeng | ||
| 072 | 7 |
_aAVLA _2thema |
|
| 072 | 7 |
_a6MB _2bisac |
|
| 072 | 7 |
_a6RC _2bisac |
|
| 072 | 7 |
_aAVGC2 _2bic |
|
| 072 | 7 |
_aMUS000000 _2bisac |
|
| 072 | 7 |
_a780.9031 _2bisac |
|
| 100 | 1 | _aHoney Meconi | |
| 245 | 1 | 0 | _aEarly Musical Borrowing |
| 250 | _a1 | ||
| 260 |
_aOxford _bRoutledge _c20151124 |
||
| 300 | _a248 p | ||
| 520 | _bA timely addition to Routledge's Criticism and Analysis of Early Music series, this collection of essays examines the common compositional practice of borrowing or imitation in fifteenth-and sixteenth-century music, addressing how and why borrowing was used, the significance of borrowing, the techniques of borrowing, and its recognizable features. The book provides a broad overview of this common practice and sheds light on previously unexplored aspects of early musical borrowing. It functions as both an introduction to the subject as well as a guide for further research. The contributors, all highly regarded in their field, offer new insights that will change the way we view borrowing. | ||
| 999 |
_c830 _d830 |
||