9780214665813 - Late Renaissance and Baroque Music (Pt.2) di Harman, Alec; Milner, Anthony (7 risultati)

Condizione: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

paperback. Condizione: Very Good. ALL ITEMS ARE DISPATCHED FROM THE UK WITHIN 48 HOURS ( BOOKS ORDERED OVER THE WEEKEND DISPATCHED ON MONDAY) ALL OVERSEAS ORDERS SENT BY TRACKABLE AIR MAIL. IF YOU ARE LOCATED OUTSIDE THE UK PLEASE ASK US FOR A POSTAGE QUOTE FOR MULTI VOLUME SETS BEFORE ORDERING.

Paperback. Condizione: Good. Spine and cover creased, page edges tanned. Orders received by 3pm Sent from the UK that weekday.

20x13. 352p. PEDIDO MINIMO, 6.00 EUROS. ENVIO GRATUITO HASTA 1 KILO A LA PENINSULA SIN NUMERO DE SEGUIMIENTO. PARA OTRAS FORMAS DE ENVIO, LEA CONDICIONES. (PAYPAL +1,80 HASTA 50, RESTO +5.95%). EN ALMACEN. 9780214665813 MUSICA LIBRO EN INGLÉS.

Soft Cover. Condizione: Very Good. 352pp, illustrated card covers, a little rubbed to spine. A couple of very small spots of foxing to foredge, otherwise internally very clean and tight. Covers c. 1525 to c. 1750.

Soft cover. Condizione: Very Good. No Jacket. 1st Edition. 1969 Barrie & Rockliff Paperback 1st Edition Very good+ clean tight binding with fabulous 60's cover design.Some creasing to spine but in excellent condition for age.

Condizione: Bueno. In the Preface to Part III of this history Wilfrid Mellers remarks that a music historian should approach his task with both circumspection and humility . He is undoubtedly right, for when one considers what is involved in such an undertaking one should be extremely chary of adding to what has already been achieved in this sphere indeed, it is doubtful whether the attempt should ever be made unless one is convinced that the kind of history one has in mind is sufficiently distinctive to justify the writing of yet another.In this series the authors have been guided by three chief aims, and we believe that it is in the combination of these aims that the distinctiveness of this particular history lies.To begin with, we have tried to convey something of the feelings aroused in us by the music we write about and to give as many aesthetic judgments on individual works and composers as is possible in a work of this size and scope, for although we realize that such feelings and judgments are purely personal and that therefore it is hardly likely that everyone will agree with them, we believe that a history which does not seek to arouse a critical enthusiasm for each and every period and in which there are few or no aesthetic judgments to guide the taste of those less familiar with the music in question is not fulfilling one of its functions.