Baroque Music (the Library Of Essays On Music Performance Practice)
by Peter Walls /
2011 / English / PDF
47.6 MB Download
Research in the 20th and 21st centuries into historical performance
practice has changed not just the way performers approach music of
the 17th and 18th centuries but, eventually, the way audiences
listen to it. This volume, beginning with a 1915 Saint-Saëns
lecture on the performance of old music, sets out to capture
musicological discussion that has actually changed the way Baroque
music can sound. The articles deal with historical instruments,
pitch, tuning, temperament, the nexus between technique and style,
vibrato, the performance implications of musical scores, and some
of the vexed questions relating to rhythmic alteration. It closes
with a section on the musicological challenges to the ideology of
the early music movement mounted (principally) in the 1990s.
Leading writers on historical performance practice are represented.
Recognizing that significant developments in historically-inspired
performance have been led by instrument makers and performers, the
volume also contains representative essays by key practitioners.
Research in the 20th and 21st centuries into historical performance
practice has changed not just the way performers approach music of
the 17th and 18th centuries but, eventually, the way audiences
listen to it. This volume, beginning with a 1915 Saint-Saëns
lecture on the performance of old music, sets out to capture
musicological discussion that has actually changed the way Baroque
music can sound. The articles deal with historical instruments,
pitch, tuning, temperament, the nexus between technique and style,
vibrato, the performance implications of musical scores, and some
of the vexed questions relating to rhythmic alteration. It closes
with a section on the musicological challenges to the ideology of
the early music movement mounted (principally) in the 1990s.
Leading writers on historical performance practice are represented.
Recognizing that significant developments in historically-inspired
performance have been led by instrument makers and performers, the
volume also contains representative essays by key practitioners.