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  3. The Historical Performance of Music
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    • Publisher:
      Cambridge University Press
      Publication date:
      22 September 2009
      11 November 1999
      ISBN:
      9780511481710
      9780521621939
      9780521627382
      DOI:
      https://doi.org/10.1017/CBO9780511481710
      Dimensions:
      (228 x 152 mm)
      Weight & Pages:
      0.445kg, 236 Pages
      Dimensions:
      (228 x 152 mm)
      Weight & Pages:
      0.39kg, 234 Pages
      • Series:
      Cambridge Handbooks to the Historical Performance of Music
      Subjects:
      Music, Music Performance
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    Series:
    Cambridge Handbooks to the Historical Performance of Music
    Subjects:
    Music, Music Performance
    Information

    Book description

    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.

    Reviews

    ‘ … offers a wealth of wisdom … I hope it may open windows in many minds.’

    Source: The Musical Times

    ‘It introduces ideas, concerns and approaches which will be new to many readers and practitioners, and it wil without doubt be invaluable to students.’

    Source: Early Music Today

    ‘… offer many stimulating asides and tantalising titbits, particularly when dealing with such controversial areas as the links between rhetorical theory and music; tast; rhythmic freedom; ornamentation and improvisation. Throughout … their arguments are short, and sharp enough to whet the appetite, and he thirsty reader will surely want to go in search of more.’

    Source: BBC Music Magazine

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    Contents

    Contents

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