Baroque Music
Herausgeber: Walls, Peter
Baroque Music
Herausgeber: Walls, Peter
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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
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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
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 588
- Erscheinungstermin: 14. Oktober 2024
- Englisch
- Abmessung: 169mm x 244mm x 34mm
- Gewicht: 980g
- ISBN-13: 9781032918396
- ISBN-10: 103291839X
- Artikelnr.: 71711410
- Herstellerkennzeichnung
- Produktsicherheitsverantwortliche/r
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: Taylor & Francis Ltd
- Seitenzahl: 588
- Erscheinungstermin: 14. Oktober 2024
- Englisch
- Abmessung: 169mm x 244mm x 34mm
- Gewicht: 980g
- ISBN-13: 9781032918396
- ISBN-10: 103291839X
- Artikelnr.: 71711410
- Herstellerkennzeichnung
- Produktsicherheitsverantwortliche/r
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
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.
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
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
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