Classical and Romantic performing practice 1750-1900
著者
書誌事項
Classical and Romantic performing practice 1750-1900
Oxford University Press, c1999
- : pbk
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注記
Includes bibliographical references (p. [633]-644) and index
内容説明・目次
内容説明
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Clive Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it
was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and
Brahms created their music was more radically different from ours than is generally assumed.
This is an essential book for all performers and students of Classical and Romantic music.
目次
- Foreword
- Introduction
- 1. Accentuation in Theory
- 2. Accentuation in Practice
- 3. The Notation of Accents and Dynamics
- 4. Articulation
- 5. Articulation and Expression
- 6. The Notation of Articulation and Phrasing
- 7. String Bowing
- 8. Tempo
- 9. Alla Breve
- 10. Tempo Terms
- 11. Tempo Modification
- 12. Embellishment, Ornamentation, and Improvisation
- 13. Appoggiaturas, Trills, Turns, and Related Ornaments
- 14. Vibrato
- 15. Portamento
- 16. The fermata
- Recitative
- Arpeggiation
- The Variable Dot and Other Aspects of Rhythmic Flexibility
- Heavy and Light Performance
- Index
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