This selection of essays on historical performance practice of the Baroque era includes the key essays from recent scholarly research which, eventually, changed both the way performers approach Baroque music, and the way audiences listen to it. Topics covered include historical instruments, pitch, tuning, temperament, the nexus between technique an
This selection of essays on historical performance practice of the Baroque era includes the key essays from recent scholarly research which, eventually, changed both the way performers approach Baroque music, and the way audiences listen to it. Topics covered include historical instruments, pitch, tuning, temperament, the nexus between technique anHinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
Produktdetails
The Library of Essays on Music Performance Practice
Peter Walls is Emeritus Professor of Music at Victoria University of Wellington. He is the author of Music in the English Courtly Masque (Oxford: the Clarendon Press, 1996), History, Imagination and the Performance of Music (Woodbridge: Boydell, 2003) and numerous articles on historical performance practice. A baroque violinist and conductor, he is currently Chief Executive of the New Zealand Symphony Orchestra.
Inhaltsangabe
Contents: Introduction; Part I Prologue: On the execution of music and principally of ancient music Camille Saint-SaÃ'ns. Part II The Right Instrument: Reconstructing the harpsichord Frank Hubbard; The harpsichord culture in Bach's environs John Koster; Bach and the flute: the players the instruments the music Ardal Powell with David Lasocki; New light on the old bow: part 1 Robert E. Seletsky; New light on the old bow: part 2 Robert E. Seletsky; Falsetto and the French: 'une toute autre marche' Andrew Parrott. Part III Pitch Tuning and Temperament: Bach's keyboard temperament: internal evidence from The Well-tempered Clavier John Barnes; Beyond temperament: non-keyboard intonation in the 17th and 18th centuries Bruce Haynes. Part IV Technique and Style: Handelian keyboard fingerings Mark Lindley; Violin fingering in the 18th century Peter Walls; Tu ru or not Tu ru: paired syllables and unequal tonguing patterns on woodwinds in the 17th and 18th centuries Bruce Haynes; 'La voce è grata assai ma...': Monteverdi on singing Richard Wistreich. Part V Vibrato: The vibrato controversy Frederick Neumann; The censored publications of The Art of Playing on the Violin or Geminiani unshaken Roger Hickman. Part VI What Works? (Text Subtext Surtext): Text context and the early music editor Philip Brett; Sous les doits de Chambonniere David Fuller; Violinistic virtuosity in the 17th century: Italian supremacy or Austro-German hegemony? Peter Allsop; Ornaments for Corelli's Violin Sonatas op. 5 Neal Zaslaw. Part VII Tempo and Rhythmic Alteration: Déjà vu all over again? Rhythmic alteration vs. Neumann's musical protectionism Stephen E. Hefling; Alteration in Handel: a fresh approach John Byrt; Bach's French overtures and the politics of overdotting Matthew Dirst. Part VIII Scoring: 'Col nobilissimo esercitio della vivuola': Monteverdi's string writing Peter Holman; Professional women musicians in early 18th-century Wÿrttemberg Samantha Owens; P
Contents: Introduction; Part I Prologue: On the execution of music and principally of ancient music Camille Saint-SaÃ'ns. Part II The Right Instrument: Reconstructing the harpsichord Frank Hubbard; The harpsichord culture in Bach's environs John Koster; Bach and the flute: the players the instruments the music Ardal Powell with David Lasocki; New light on the old bow: part 1 Robert E. Seletsky; New light on the old bow: part 2 Robert E. Seletsky; Falsetto and the French: 'une toute autre marche' Andrew Parrott. Part III Pitch Tuning and Temperament: Bach's keyboard temperament: internal evidence from The Well-tempered Clavier John Barnes; Beyond temperament: non-keyboard intonation in the 17th and 18th centuries Bruce Haynes. Part IV Technique and Style: Handelian keyboard fingerings Mark Lindley; Violin fingering in the 18th century Peter Walls; Tu ru or not Tu ru: paired syllables and unequal tonguing patterns on woodwinds in the 17th and 18th centuries Bruce Haynes; 'La voce è grata assai ma...': Monteverdi on singing Richard Wistreich. Part V Vibrato: The vibrato controversy Frederick Neumann; The censored publications of The Art of Playing on the Violin or Geminiani unshaken Roger Hickman. Part VI What Works? (Text Subtext Surtext): Text context and the early music editor Philip Brett; Sous les doits de Chambonniere David Fuller; Violinistic virtuosity in the 17th century: Italian supremacy or Austro-German hegemony? Peter Allsop; Ornaments for Corelli's Violin Sonatas op. 5 Neal Zaslaw. Part VII Tempo and Rhythmic Alteration: Déjà vu all over again? Rhythmic alteration vs. Neumann's musical protectionism Stephen E. Hefling; Alteration in Handel: a fresh approach John Byrt; Bach's French overtures and the politics of overdotting Matthew Dirst. Part VIII Scoring: 'Col nobilissimo esercitio della vivuola': Monteverdi's string writing Peter Holman; Professional women musicians in early 18th-century Wÿrttemberg Samantha Owens; P
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