The historical performance of music: an introduction
Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of...
Saved in:
| Main Author: | |
|---|---|
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Cambridge
Cambridge University Press
1999
|
| Series: | Cambridge Handbooks to the historical performance of music
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| Subjects: | |
| Online Access: | BSB01 UBG01 Volltext |
| Summary: | Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of the evidence provided, not only in the various early instrumental and vocal treatises, but also in examples from the mainstream repertory. Designed as a parent volume for the series Cambridge Handbooks to the Historical Performance of Music, this book provides an historical basis for artistic decision-making which has as its goal the re-creation of performances as close as possible to the composer's original conception. It relates many of the issues discussed to major works by Bach, Mozart, Berlioz and Brahms, composed c.1700–c.1900, the core period which forms the principal (though not exclusive) focus for the whole series |
| Item Description: | Title from publisher's bibliographic system (viewed on 05 Oct 2015) |
| Physical Description: | 1 online resource (xiii, 219 pages) |
| ISBN: | 9780511481710 |
| DOI: | 10.1017/CBO9780511481710 |
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| 505 | 8 | 0 | |t Music as history |t Introduction |t The nature and development of historical awareness |t Influential reworkings of Bach and Handel |t Historical considerations |t The pioneers : individuals and institutions |t The role of musical expression |t Arguments pro and con |t Post-war philosophies |t Period Mozart and beyond |t The current scene |t The application of primary sources |t Surviving instruments |t Iconographical sources |t Historical archives |t Literary sources |t Practical treatises - uses and limitations |t Practical treatises - a summary |t Theoretical treatises |t The importance of communication |t The role of editions |t Musical taste |t Changes in musical style |t National idioms |t Articulation |t Melodic inflection |t Accentuation |t Tempo |t Rhythmic alteration |t Ornamentation |t Extempore embellishment |t Improvisation |t Continuo accompaniment |t Conditions and practices |t Introduction |t Pitch |t Temperament |t Vocal practices |t Venues and programmes |t Orchestral constitution and placement |t Direction |t Nineteenth-century changes |t Case studies in ensemble music |t J.S. Bach : St Matthew passion BWV 244 |t W.A. Mozart : Serenade for 13 instruments K361 |t Berlioz : Episolde de la vie d'un artiste, Symphonie fantastique en cinq parties op. 14 |t Brahms : Symphony no. 2 in D major op. 73 |t The continuing debate |t Introduction |t The social position of historical music |t A snapshot from 1983 |t Authenticity and early music |t The 1990s |t The future? |
| 520 | |a Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of the evidence provided, not only in the various early instrumental and vocal treatises, but also in examples from the mainstream repertory. Designed as a parent volume for the series Cambridge Handbooks to the Historical Performance of Music, this book provides an historical basis for artistic decision-making which has as its goal the re-creation of performances as close as possible to the composer's original conception. It relates many of the issues discussed to major works by Bach, Mozart, Berlioz and Brahms, composed c.1700–c.1900, the core period which forms the principal (though not exclusive) focus for the whole series | ||
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Record in the Search Index
| _version_ | 1804176842859479040 |
|---|---|
| any_adam_object | |
| author | Lawson, Colin |
| author_facet | Lawson, Colin |
| author_role | aut |
| author_sort | Lawson, Colin |
| author_variant | c l cl |
| building | Verbundindex |
| bvnumber | BV043921086 |
| classification_rvk | LR 56000 |
| collection | ZDB-20-CBO |
| contents | Music as history Introduction The nature and development of historical awareness Influential reworkings of Bach and Handel Historical considerations The pioneers : individuals and institutions The role of musical expression Arguments pro and con Post-war philosophies Period Mozart and beyond The current scene The application of primary sources Surviving instruments Iconographical sources Historical archives Literary sources Practical treatises - uses and limitations Practical treatises - a summary Theoretical treatises The importance of communication The role of editions Musical taste Changes in musical style National idioms Articulation Melodic inflection Accentuation Tempo Rhythmic alteration Ornamentation Extempore embellishment Improvisation Continuo accompaniment Conditions and practices Pitch Temperament Vocal practices Venues and programmes Orchestral constitution and placement Direction Nineteenth-century changes Case studies in ensemble music J.S. Bach : St Matthew passion BWV 244 W.A. Mozart : Serenade for 13 instruments K361 Berlioz : Episolde de la vie d'un artiste, Symphonie fantastique en cinq parties op. 14 Brahms : Symphony no. 2 in D major op. 73 The continuing debate The social position of historical music A snapshot from 1983 Authenticity and early music The 1990s The future? |
| ctrlnum | (ZDB-20-CBO)CR9780511481710 (OCoLC)704409813 (DE-599)BVBBV043921086 |
| dewey-full | 781.4/3/09 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.4/3/09 |
| dewey-search | 781.4/3/09 |
| dewey-sort | 3781.4 13 19 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.1017/CBO9780511481710 |
| era | Geschichte 1700-1800 Geschichte 1800-1900 |
| era_facet | Geschichte 1700-1800 Geschichte 1800-1900 |
| format | Electronic eBook |
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| isbn | 9780511481710 |
| language | English |
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| spelling | Lawson, Colin Verfasser aut The historical performance of music an introduction Colin Lawson and Robin Stowell Cambridge Cambridge University Press 1999 1 online resource (xiii, 219 pages) txt rdacontent c rdamedia cr rdacarrier Cambridge Handbooks to the historical performance of music Title from publisher's bibliographic system (viewed on 05 Oct 2015) Music as history Introduction The nature and development of historical awareness Influential reworkings of Bach and Handel Historical considerations The pioneers : individuals and institutions The role of musical expression Arguments pro and con Post-war philosophies Period Mozart and beyond The current scene The application of primary sources Surviving instruments Iconographical sources Historical archives Literary sources Practical treatises - uses and limitations Practical treatises - a summary Theoretical treatises The importance of communication The role of editions Musical taste Changes in musical style National idioms Articulation Melodic inflection Accentuation Tempo Rhythmic alteration Ornamentation Extempore embellishment Improvisation Continuo accompaniment Conditions and practices Introduction Pitch Temperament Vocal practices Venues and programmes Orchestral constitution and placement Direction Nineteenth-century changes Case studies in ensemble music J.S. Bach : St Matthew passion BWV 244 W.A. Mozart : Serenade for 13 instruments K361 Berlioz : Episolde de la vie d'un artiste, Symphonie fantastique en cinq parties op. 14 Brahms : Symphony no. 2 in D major op. 73 The continuing debate Introduction The social position of historical music A snapshot from 1983 Authenticity and early music The 1990s The future? Offering students and performers a concise overview of historical performance, this 1999 book takes into account the many significant developments in the discipline. It addresses practical matters rather than philosophical issues and guides readers towards further investigation and interpretation of the evidence provided, not only in the various early instrumental and vocal treatises, but also in examples from the mainstream repertory. Designed as a parent volume for the series Cambridge Handbooks to the Historical Performance of Music, this book provides an historical basis for artistic decision-making which has as its goal the re-creation of performances as close as possible to the composer's original conception. It relates many of the issues discussed to major works by Bach, Mozart, Berlioz and Brahms, composed c.1700–c.1900, the core period which forms the principal (though not exclusive) focus for the whole series Geschichte 1700-1800 Geschichte 1800-1900 Geschichte Performance practice (Music) / History / 18th century Performance practice (Music) / History / 19th century Historische Musikpraxis (DE-588)4197967-9 gnd rswk-swf 1\p (DE-588)4151278-9 Einführung gnd-content Historische Musikpraxis (DE-588)4197967-9 s 2\p DE-604 Stowell, Robin Sonstige oth Erscheint auch als Druckausgabe 978-0-521-62193-9 Erscheint auch als Druckausgabe 978-0-521-62738-2 https://doi.org/10.1017/CBO9780511481710 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Lawson, Colin The historical performance of music an introduction Music as history Introduction The nature and development of historical awareness Influential reworkings of Bach and Handel Historical considerations The pioneers : individuals and institutions The role of musical expression Arguments pro and con Post-war philosophies Period Mozart and beyond The current scene The application of primary sources Surviving instruments Iconographical sources Historical archives Literary sources Practical treatises - uses and limitations Practical treatises - a summary Theoretical treatises The importance of communication The role of editions Musical taste Changes in musical style National idioms Articulation Melodic inflection Accentuation Tempo Rhythmic alteration Ornamentation Extempore embellishment Improvisation Continuo accompaniment Conditions and practices Pitch Temperament Vocal practices Venues and programmes Orchestral constitution and placement Direction Nineteenth-century changes Case studies in ensemble music J.S. Bach : St Matthew passion BWV 244 W.A. Mozart : Serenade for 13 instruments K361 Berlioz : Episolde de la vie d'un artiste, Symphonie fantastique en cinq parties op. 14 Brahms : Symphony no. 2 in D major op. 73 The continuing debate The social position of historical music A snapshot from 1983 Authenticity and early music The 1990s The future? Geschichte Performance practice (Music) / History / 18th century Performance practice (Music) / History / 19th century Historische Musikpraxis (DE-588)4197967-9 gnd |
| subject_GND | (DE-588)4197967-9 (DE-588)4151278-9 |
| title | The historical performance of music an introduction |
| title_alt | Music as history Introduction The nature and development of historical awareness Influential reworkings of Bach and Handel Historical considerations The pioneers : individuals and institutions The role of musical expression Arguments pro and con Post-war philosophies Period Mozart and beyond The current scene The application of primary sources Surviving instruments Iconographical sources Historical archives Literary sources Practical treatises - uses and limitations Practical treatises - a summary Theoretical treatises The importance of communication The role of editions Musical taste Changes in musical style National idioms Articulation Melodic inflection Accentuation Tempo Rhythmic alteration Ornamentation Extempore embellishment Improvisation Continuo accompaniment Conditions and practices Pitch Temperament Vocal practices Venues and programmes Orchestral constitution and placement Direction Nineteenth-century changes Case studies in ensemble music J.S. Bach : St Matthew passion BWV 244 W.A. Mozart : Serenade for 13 instruments K361 Berlioz : Episolde de la vie d'un artiste, Symphonie fantastique en cinq parties op. 14 Brahms : Symphony no. 2 in D major op. 73 The continuing debate The social position of historical music A snapshot from 1983 Authenticity and early music The 1990s The future? |
| title_auth | The historical performance of music an introduction |
| title_exact_search | The historical performance of music an introduction |
| title_full | The historical performance of music an introduction Colin Lawson and Robin Stowell |
| title_fullStr | The historical performance of music an introduction Colin Lawson and Robin Stowell |
| title_full_unstemmed | The historical performance of music an introduction Colin Lawson and Robin Stowell |
| title_short | The historical performance of music |
| title_sort | the historical performance of music an introduction |
| title_sub | an introduction |
| topic | Geschichte Performance practice (Music) / History / 18th century Performance practice (Music) / History / 19th century Historische Musikpraxis (DE-588)4197967-9 gnd |
| topic_facet | Geschichte Performance practice (Music) / History / 18th century Performance practice (Music) / History / 19th century Historische Musikpraxis Einführung |
| url | https://doi.org/10.1017/CBO9780511481710 |
| work_keys_str_mv | AT lawsoncolin thehistoricalperformanceofmusicanintroduction AT stowellrobin thehistoricalperformanceofmusicanintroduction |