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Full-Text Articles in Music Practice
Numbers And Tempo: 1630-1800, Beverly Jerold
Numbers And Tempo: 1630-1800, Beverly Jerold
Performance Practice Review
After discussing the role of technology in achieving modern performance standards, this article examines sources that have been cited in support of extremely rapid tempos for the time frame 1630-1800. It summarizes recent findings about the French time devices in which a new source ‒ the Paris dancing master Raoul Auger Feuillet’s reasonable pendulum tempo numbers for dance forms ‒ provides the most accurate information to date for tempo around 1700. Continuing then with other sources cited for rapid tempos, the present article discusses the conflicting statements in Marin Mersenne’s Harmonie universelle and his inaccurate pendulum measurements. It considers the …
Bach's Tempo Ordinario: A Plaine And Easie Introduction To The System, Robert Marshall
Bach's Tempo Ordinario: A Plaine And Easie Introduction To The System, Robert Marshall
Performance Practice Review
The initial impetus for this inquiry came from a question posed by Arthur Mendel during a coffee break in a Bach seminar some thirty years ago. Why, he asked, did Bach notate the last movement of the fifth Brandenburg Concerto in two-four time, with triplets rather than in six-eight time?...
"Stolen Time: The History Of Tempo Rubato." By Richard Hudson., Barton Hudson
"Stolen Time: The History Of Tempo Rubato." By Richard Hudson., Barton Hudson
Performance Practice Review
Review's and critiques Hudson's 1994 book.
"Das Tempo In Der Musik Von Barock Und Vorklassik. Die Antwort Der Quellen Auf Ein Umstrittenes Thema." By Klaus Miehling, Wolfgang Aufhagen
"Das Tempo In Der Musik Von Barock Und Vorklassik. Die Antwort Der Quellen Auf Ein Umstrittenes Thema." By Klaus Miehling, Wolfgang Aufhagen
Performance Practice Review
Auhagen reviews and critiques Miehling's book on tempo in the Baroque and Preclassic eras.
Stravinsky, Tempo, And Le Sacre, Erica Heisler Buxbaum
Stravinsky, Tempo, And Le Sacre, Erica Heisler Buxbaum
Performance Practice Review
In reviews of recorded performances by others of Le sacre du printemps, Stravinsky contradicted his metronome markings and his own recorded performance tempos. His preferred tempos in the reviews encompass a range wider than the markings imply, yet more narrow than his own performance tempos suggest.
Tempo Gradations In Purcell's Sonatas, Mary Cyr
Tempo Gradations In Purcell's Sonatas, Mary Cyr
Performance Practice Review
"Both the Italian tempo indications in Purcell's sonatas and the occasional English words in the fantasias imply differences of character as well as speed. The melodic and harmonic motion, and the presence of dissonance or chromaticism serve as superior guides to the finer nuances of speed and Articulation than does the examination of meter. Several of the apparent inconsistencies in Purcell's tempo marks may be resolved when they are considered in the context of three categories--fast, moderate, and slow."
"The Tempo Indications Of Mozart." By Jean-Pierre Marty, Thomas Bauman
"The Tempo Indications Of Mozart." By Jean-Pierre Marty, Thomas Bauman
Performance Practice Review
Bauman discusses and reviews Marty's 1988 book.
Tempo In Mahler As Recollected By Natalie Bauer-Lechner, Nancy M. Raabe
Tempo In Mahler As Recollected By Natalie Bauer-Lechner, Nancy M. Raabe
Performance Practice Review
"There is no standard concert hall repertoire in which lack of sensitivity to tempo and Expression marks is more damaging than Mahler's symphonies. Their coherence lies in a series of tonal relationships emphasized by thematic connections, and tempo provides the medium through which these connections are made. Drawing on the writings of Mahler's friend Natalie Bauer-Lechner, the importance of tempo in Mahler's works is illustrated by the composer's own words."
"Meter In Music, 1600-1800" By George Houle, Alexander Silbiger
"Meter In Music, 1600-1800" By George Houle, Alexander Silbiger
Performance Practice Review
Silbiger discusses and reviews Houle's 1987 book.
New Light On Late Eighteenth-Century Tempo: William Crotch's Pendulum Markings, Emanuel Rubin
New Light On Late Eighteenth-Century Tempo: William Crotch's Pendulum Markings, Emanuel Rubin
Performance Practice Review
RILM abstract: "Crotch's pendulum markings are an important source of information on English tempos at the end of the 18th c. and represent an ongoing practice among late 18th-c. English composers. Statistical study of English glees with pendulum markings from this period promises to yield valuable results."