Tempo and tactus in the German baroque : treatises, scores, and the performance of organ music
著者
書誌事項
Tempo and tactus in the German baroque : treatises, scores, and the performance of organ music
(Eastman studies in music, v. 178)
University of Rochester Press, 2021
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [477]-514) and index
内容説明・目次
内容説明
Guides modern performers and scholars through the intricacies of German Baroque metric theory, via analyses of treatises and organ music by J.S. Bach and other leading composers, such as Buxtehude, Bruhns, and Weckman.
Before the advent of the metronome ca. 1800, there was little in the way of a standardized, commonly accessible method for precisely communicating how fast musical compositions should be performed. Instead of absolute time (that is, plottable on a metronome), Baroque musicians developed notational cues for relative speed: this was accomplished primarily through combinations of time signatures and note values. Julia Dokter's Tempo and Tactus in the German Baroque helps decode these tempo cues for modern performers.
Part 1 investigates metric theory in music treatises from roughly 1600 to 1790. Parts 2 and 3 explore the organ scores of pivotal composers such as J. S. Bach, Dieterich Buxtehude, Matthias Weckman, and Nicolaus Bruhns, and present case studies demonstrating how Baroque tempo indications may interact in performance situations.
Readers will discover how Baroque musicians modified the Renaissance mensural system to incorporate tempo shifts; how the various duple, triple, and compound meters interrelated; how the technical display of stylus phantasticus writing affected tempo; how tempo words (such as allegro) functioned; and how the choice of performing forces-chorus, solo keyboard, and so on-could affect the way tempo was notated.
By addressing questions of tempo fundamental to German Baroque music, this book lays important groundwork for organists and for performers of other instrumental music of this period.
目次
Notes to the Reader
Introduction
The Foundation of German Baroque Tempo Theory: Michael Praetorius
Duple Meter
Triple and Compound Meter: Proportional Relationships
"2" and Blackened/Whitened Notation
Beat Patterns and Tempo
Source Excerpts
Tempo Words
The Functional Equivalency of Integer Valor Duple Meters in Later Seventeenth-Century Organ Music
Stylus Phantasticus
Differentiations Between Various Integer Valor Duple Meters in Johann Sebastian Bach's Music
The Large Allabreve and the Kirnbergian Small Allabreve
Triple Meter and Tempo Words
Case Studies
Final Remarks, Summary, and Synthesis
「Nielsen BookData」 より