Georg Muffat
Georg Muffat on Performance Practice
The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik-A New Translation with Commentary
Übersetzer: Wilson, David K.
Georg Muffat
Georg Muffat on Performance Practice
The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik-A New Translation with Commentary
Übersetzer: Wilson, David K.
- Broschiertes Buch
Suitable for enlightening on differences between French and German practice, this book treats pitch, ornamentation, bowing, and more.
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Suitable for enlightening on differences between French and German practice, this book treats pitch, ornamentation, bowing, and more.
Produktdetails
- Produktdetails
- Verlag: Indiana University Press
- 2nd edition
- Seitenzahl: 152
- Erscheinungstermin: 9. November 2001
- Englisch
- Abmessung: 252mm x 170mm x 11mm
- Gewicht: 280g
- ISBN-13: 9780253213976
- ISBN-10: 0253213975
- Artikelnr.: 21678164
- Verlag: Indiana University Press
- 2nd edition
- Seitenzahl: 152
- Erscheinungstermin: 9. November 2001
- Englisch
- Abmessung: 252mm x 170mm x 11mm
- Gewicht: 280g
- ISBN-13: 9780253213976
- ISBN-10: 0253213975
- Artikelnr.: 21678164
David K. Wilson is a Baroque violinist based in the San Francisco area. He has taught baroque violin at Indiana University and has performed extensively with period instrument chamber ensembles and orchestras in the United States and in Germany. Professor Thomas Binkley was a noted lutenist and director of early music performances. He founded the early Music Institute at the Indiana University School of Music. Dr. Ingeborg Harer is Assistant Professor at the Universitat fur Musik und darstellende Kunst in Graz, Austria. Dr. Ernest Hoetzl is Assistant Professor of Pedagogy at the Universitat fur Musik und darstellende Kunst in Graz, Austria. Dr Yvonne Luisi-Weichsel teaches in the pedagogy department of the Universitat fur Musik und darstellende Kunst in Graz, Austria.
Preliminary Table of Contents:
I. Introduction
1. Foreword
2. Biographical Sketch of Georg Muffat
3. Description of the Materials
II. Translations
4. Florilegium Primum, 1695
5. Florilegium Secoundum, 1690
6. Auserlesene Instrumentalmusik, 1701
III. Commentary
7. Muffat's Intentions
8. Instruments
9. Tuning: Pitch, Temperament, Intonation
10. Technique: Bowing Rules, Ornamentation, General Conventions
11. German Performance Practice
12. Performance Settings
13. Conclusion
Bibliography
I. Introduction
1. Foreword
2. Biographical Sketch of Georg Muffat
3. Description of the Materials
II. Translations
4. Florilegium Primum, 1695
5. Florilegium Secoundum, 1690
6. Auserlesene Instrumentalmusik, 1701
III. Commentary
7. Muffat's Intentions
8. Instruments
9. Tuning: Pitch, Temperament, Intonation
10. Technique: Bowing Rules, Ornamentation, General Conventions
11. German Performance Practice
12. Performance Settings
13. Conclusion
Bibliography
Preliminary Table of Contents:
I. Introduction
1. Foreword
2. Biographical Sketch of Georg Muffat
3. Description of the Materials
II. Translations
4. Florilegium Primum, 1695
5. Florilegium Secoundum, 1690
6. Auserlesene Instrumentalmusik, 1701
III. Commentary
7. Muffat's Intentions
8. Instruments
9. Tuning: Pitch, Temperament, Intonation
10. Technique: Bowing Rules, Ornamentation, General Conventions
11. German Performance Practice
12. Performance Settings
13. Conclusion
Bibliography
I. Introduction
1. Foreword
2. Biographical Sketch of Georg Muffat
3. Description of the Materials
II. Translations
4. Florilegium Primum, 1695
5. Florilegium Secoundum, 1690
6. Auserlesene Instrumentalmusik, 1701
III. Commentary
7. Muffat's Intentions
8. Instruments
9. Tuning: Pitch, Temperament, Intonation
10. Technique: Bowing Rules, Ornamentation, General Conventions
11. German Performance Practice
12. Performance Settings
13. Conclusion
Bibliography