000			01957 a2200301 4500
001			1138384089
005			20250317100417.0
008			250312042018GB eng
020			_a9781138384088
037			_bTaylor & Francis _cGBP 52.99 _fBB
040			_a01
041			_aeng
072	7		_aAVLA _2thema
072	7		_aAVA _2thema
072	7		_aAVR _2thema
072	7		_a6CA _2bisac
072	7		_aAVGC4 _2bic
072	7		_aAVA _2bic
072	7		_aAVR _2bic
072	7		_aMUS000000 _2bisac
072	7		_a785.719409033 _2bisac
100	1		_aMara Parker
245	1	0	_aString Quartet, 1750–1797 _bFour Types of Musical Conversation
250			_a1
260			_aOxford _bRoutledge _c20180918
300			_a336 p
520			_bThe second half of the eighteenth century witnessed a flourishing of the string quartet, often represented as a smooth and logical progression from first violin-dominated homophony to a more equal conversation between the four voices. Yet this progression was neither as smooth nor as linear as previously thought, as Mara Parker illustrates in her examination of the string quartet during this period. Looking at a wide variety of string quartets by composers such as Pleyel, Distler and Filtz, in addition to Haydn and Mozart, the book proposes a new way of describing the relationships between the four instruments in different works. Broadly speaking, these relationships follow one of four patterns: the 'lecture', the 'polite conversation', the 'debate', and the 'conversation'. In focusing on these musical discourses, it becomes apparent that each work is the product of its composer's stylistic choices, location, intended performers and intended audience. Instead of evolving in a strict and universal sequence, the string quartet in the latter half of the eighteenth century was a complex genre with composers mixing and matching musical discourses as circumstances and their own creative impulses required.
999			_c3028 _d3028