Ornamentation in Baroque and Post-baroque Music: With Special Emphasis on J.S. Bach

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Princeton University Press, 1983 - Music - 630 pages
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Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period.


The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.

 

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Having devoted a lifetime to the study of Baroque music performance, this is the very worst book on the matter I have ever read. Its arguments have long been debunked by renowned scholars.
Unfortunately, however, Neumann's ridiculous fantasy about "pre-beat trills and mordents", which pervades the whole book, is still been followed by a significant percentage of performers, professional included. This is why I have devoted a few pages in my "Playing the Baroque Harpsichord" book to show the perverse fallacies in this book.
 

Contents

V
xiii
VI
xvii
VII
xix
VIII
ii
IX
ii
X
ii
XI
ii
XII
ii
XXXIX
6
XLI
15
XLII
32
XLIII
65
XLIV
46
XLV
68
XLVI
70
XLVII
73

XIII
ii
XIV
iii
XV
v
XVI
ii
XVII
v
XVIII
ix
XIX
iv
XX
ix
XXI
i
XXII
ii
XXIII
viii
XXIV
xxix
XXV
lxix
XXVI
lxxxiii
XXVII
iv
XXVIII
iv
XXIX
iv
XXX
iv
XXXI
iv
XXXII
iv
XXXIII
iv
XXXIV
v
XXXV
vii
XXXVI
x
XXXVII
6
XXXVIII
13
XLVIII
80
L
87
LI
94
LII
99
LIII
108
LIV
117
LV
122
LVI
7
LVII
11
LVIII
18
LIX
20
LXI
34
LXII
43
LXIII
44
LXIV
45
LXV
45
LXVI
45
LXVII
46
LXVIII
47
LXIX
48
LXX
49
LXXI
54
LXXII
57
LXXIII
70
LXXIV
196
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Page v - I am indebted to the staffs of: the Music Division of the Library of Congress; the Music Division of the New York Public Library; the British Museum; the Bibliotheque Nationale, Departement de la Musique (in particular to M.

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