Graham Strahle
Biographic Data
| ID | 2205909 |
|---|---|
| NAME | Graham Strahle |
| GIVEN NAMES | Graham |
| FAMILY NAME | Strahle |
| SIGNATURE | STRAHLE G |
| AFFILIATIONS | The University of Adelaide |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2002 |
| H-INDEX | 0 |
John Eccles, Semele
Who composed the first English opera? In between the death of Purcell and Handel’s arrival in London, several composers tried their hand at creating a fully sung, English-language equivalent of the revered Italian opera model. Daniel Purcell was one, but his Orlando Furioso never eventuated; another was Thomas Clayton, whose pasticcio Arsinoe, Queen of Cyprus (January, i7o5) succeeded but whose Rosamond (March I7o7) did not; a third was Jacob Gre…
John Dowland Ayres for four voices VI
Here is a significant departure for Musica Britannica. With depleted stocks of an early volume in the series, John Dowland Ayres for Four Voices, edited by Thurston Dart and Nigel Fortune (I953) , the Trustees and Editorial Committee took the decision to replace the existing volume with a completely new one. Two main reasons prompted the decision. One was the desire to return the lute part to its original tablature notation, in place of the moder…
An Early Music Dictionary
This book is a handsome production: tastefully designed and bound, printed on fine cream paper using elegant typefaces, the text "hung" from a top-of-the-page rule, with generous margins.As a reference and research tool it is precisely what it says it is, namely an exhaustive compilation of musical terms inclusively defined, derived from dictionaries, musical treaties, manuals, and commentaries produced in English be- tween 1500 and 1740.The term…
On Its Own Terms
Matthew Locke
Despite the importance of music in theatrical productions during the Restoration period, comparatively little is known about its precise roles. Research by Curtis Price and others has shown that music was included in a very high proportion of theatrical productions in this period, as part of an attempt by theatre companies to attract bigger audiences. Even revivals of the same plays demanded newly composed music. It was obligatory for theatre com…
Pelham Humfrey
This small volume, appearing in the series Oxford Studies of Composers, presents in compact form Dennison's lifetime work on the Restoration composer Pelham Humfrey. The seven chapters deal in turn with the composer's life and compositional stYle, his church compositions, court odes, songs, and his music for The Tempest
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Matthew Locke
Despite the importance of music in theatrical productions during the Restoration period, comparatively little is known about its precise roles. Research by Curtis Price and others has shown that music was included in a very high proportion of theatrical productions in this period, as part of an attempt by theatre companies to attract bigger audiences. Even revivals of the same plays demanded newly composed music. It was obligatory for theatre com…
Pelham Humfrey
This small volume, appearing in the series Oxford Studies of Composers, presents in compact form Dennison's lifetime work on the Restoration composer Pelham Humfrey. The seven chapters deal in turn with the composer's life and compositional stYle, his church compositions, court odes, songs, and his music for The Tempest
On Its Own Terms
An Early Music Dictionary
This book is a handsome production: tastefully designed and bound, printed on fine cream paper using elegant typefaces, the text "hung" from a top-of-the-page rule, with generous margins.As a reference and research tool it is precisely what it says it is, namely an exhaustive compilation of musical terms inclusively defined, derived from dictionaries, musical treaties, manuals, and commentaries produced in English be- tween 1500 and 1740.The term…
John Eccles, Semele
Who composed the first English opera? In between the death of Purcell and Handel’s arrival in London, several composers tried their hand at creating a fully sung, English-language equivalent of the revered Italian opera model. Daniel Purcell was one, but his Orlando Furioso never eventuated; another was Thomas Clayton, whose pasticcio Arsinoe, Queen of Cyprus (January, i7o5) succeeded but whose Rosamond (March I7o7) did not; a third was Jacob Gre…
John Dowland Ayres for four voices VI
Here is a significant departure for Musica Britannica. With depleted stocks of an early volume in the series, John Dowland Ayres for Four Voices, edited by Thurston Dart and Nigel Fortune (I953) , the Trustees and Editorial Committee took the decision to replace the existing volume with a completely new one. Two main reasons prompted the decision. One was the desire to return the lute part to its original tablature notation, in place of the moder…
Art (6 works) · Literature (5 works) · Art history (3 works) · History (3 works) · History (3 works) · Musicology and Musical Analysis (3 works) · Visual arts (3 works) · Diverse Musicological Studies (2 works) · Historical Influence and Diplomacy (2 works) · Linguistics (2 works)