A Performer's Guide to Baroque MusicThis book makes available the fruit of a lifetime's research into baroque performing practice. Drawing on the encyclopaedic wealth of material in the author's classic studies, it supplies a basic grounding for students, performers and all early music enthusiasts. From the teeming abundance and confusion of the contemporary evidence, the author has here picked out all the essential information which the modern musician needs to guide his own interpretative decisions. Wherever possible this is cited in the words of the baroque composers and writers themselves. |
Contents
page | 13 |
Strong feeling appropriate in baroque music | 19 |
STYLE AND THE PERFORMER | 28 |
Copyright | |
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accented acciaccatura accompaniment accompanist adagio allegro appoggiatura arpeggiation articulation augmented second Bach's baroque music baroque performances baroque period bass instrument beat bel canto Berlin C. P. E. Bach cadence cadenza cantata cello century chord clavecin colouring composer confirmed continuo Couperin dotted notes early baroque effect eighth notes equal especially Essay example figured bass flat François Couperin free ornamentation French gamba Giacomo Carissimi Handel harmony harpsichord hexachord improvised influence instruments Italian J. S. Bach Joachim Quantz Johann David Heinichen keyboard late baroque leading note Leopold Mozart less lilting inequality London lute main note melodic Monteverdi mordent movement musicians natural notated oboe octave opera orchestra over-dotting Paris passing notes phrase playing precautionary accidental recitative requires rhythm Sect semitone sharp sharpened singer singing slurred solo sometimes sonority sound speed standard string style technique tempo tone trill triplet under-dotting Venice vibrato viol violin vocal voice written