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Articles 1 - 26 of 26
Full-Text Articles in Arts and Humanities
New Mexico Musician Vol 44 No 2
Puzzles, Patterns Drums: The Dawn Of Mathematics In Rwanda And Burundi., D. Huylebrouck
Puzzles, Patterns Drums: The Dawn Of Mathematics In Rwanda And Burundi., D. Huylebrouck
Humanistic Mathematics Network Journal
No abstract provided.
Music And Mathematics, Roxanne Kitts
Music And Mathematics, Roxanne Kitts
Humanistic Mathematics Network Journal
No abstract provided.
Book Review: Emblems Of Mind, The Inner Life Of Music And Mathematics, By Edward Rothstein, Sandra Z. Keith
Book Review: Emblems Of Mind, The Inner Life Of Music And Mathematics, By Edward Rothstein, Sandra Z. Keith
Humanistic Mathematics Network Journal
No abstract provided.
Book Review: Emblems Of Mind, The Inner Life Of Music And Mathematics, By Edward Rothstein, Dan Fitzgerald, Joel Haack
Book Review: Emblems Of Mind, The Inner Life Of Music And Mathematics, By Edward Rothstein, Dan Fitzgerald, Joel Haack
Humanistic Mathematics Network Journal
No abstract provided.
Fibonacci Melodies, Robert Lewand
Fibonacci Melodies, Robert Lewand
Humanistic Mathematics Network Journal
No abstract provided.
Book Review: Ethnomathematics: A Multicultural View Of Mathematical Ideas, By Marcia Ascher, Bernadette Anne Berken
Book Review: Ethnomathematics: A Multicultural View Of Mathematical Ideas, By Marcia Ascher, Bernadette Anne Berken
Humanistic Mathematics Network Journal
No abstract provided.
New Mexico Musician Vol 44 No 1
Women Of Note: Composers For The Music History Canon, Jean Kreiling
Women Of Note: Composers For The Music History Canon, Jean Kreiling
Bridgewater Review
No abstract provided.
New Mexico Musician Vol 43 No 3
Cover/Table Of Contents
Performance Practice Review
Front matter and Table of Contents from the Spring 1996 (9/1) issue of Performance Practice Review.
José Bowen's Essay: A Few Afterthoughts, Roland Jackson
José Bowen's Essay: A Few Afterthoughts, Roland Jackson
Performance Practice Review
RILM abstarct: "Performance practice might benefit from CHARM (The Centre for the History and Analysis of Recorded Music) particularly because of the access it affords to a wide range of recordings. Scholars can thereby more extensively compare, for example, composer's recordings of their own works. For practices of the early 20th c. the recordings of various composers (e.g., Grieg, Skrjabin, Elgar) may be taken as instructive models."
Invoking A Past Or Imposing A Present? Two Views Of Performance Practice, Roland Jackson
Invoking A Past Or Imposing A Present? Two Views Of Performance Practice, Roland Jackson
Performance Practice Review
RILM abstract: "Richard Taruskin has characterized performance practice or historical performance as not truly historical, but rather as a reflection of a mid-20th-c. Zeitgeist dominated by Stravinsky. In contrast with this presentist view, wherein spontaneous performance, the act, is deemed the highest value, the historicist view affirms that music (along with art works generally) is endowed with a quality of permanent value independent of how it was regarded in its own time or how people react to it now. Historicist performance practice holds that a composer's intention (the autonomous work) is rediscoverable, at least in part, and that the manner …
Performance Practice Versus Performance Analysis: Why Should Performers Study Performance, José Antonio Bowen
Performance Practice Versus Performance Analysis: Why Should Performers Study Performance, José Antonio Bowen
Performance Practice Review
RILM abstract: "The descriptive study of performance analysis and performance history differs from the usually prescriptive field of performance practice. The investigation of musical performance can be divided into three layers: general period and geographic styles, the traditions which become attached to specific works, and individual innovations. Features of the first two are transparent to performers and listeners from the same period, but they determine most of the features of a performance. Performance style is like a linguistic accent; we can no more let the music speak for itself than we can speak words without some accent. Since performance traditions …
"Ornamental" Neumes And Early Notation, Timothy J. Mcgee
"Ornamental" Neumes And Early Notation, Timothy J. Mcgee
Performance Practice Review
RILM abstract: "A comparison of the "ornamental" neumes in the earliest notation with theoretical statements about their execution shows a close relationship between the shape of the neumes and the intended sound. This suggests that one of the primary purposes of the earliest notation was to transmit information about the performance of vocal gestures and nuances that were unfamiliar to the northern Europeans."
Some Thoughts Concerning The Effects Of Tuning On Selected Musical Works (From Landini To Bach), Mark Lindley
Some Thoughts Concerning The Effects Of Tuning On Selected Musical Works (From Landini To Bach), Mark Lindley
Performance Practice Review
RILM abstract: "The type of tuning system in use during any particular period in history sometimes had a profound influence on the musical works produced. The impure intervals of the Pythagorean, quasi-Pythagorean, and later meantone temperaments might well have been used and heard as dissonances in certain contexts. Composers such as Louis Couperin, Francois and Bach exploited the distinctive tonal colors of different keys arising from the French and German irregular temperaments. However, systematically varied intervallic nuances for different keys were not a characteristic feature of the music for Baroque fretted instruments; for these works, equal temperament was the norm."
Contributors
Performance Practice Review
List of contributors to the Spring 1996 issue of Performance Practice Review.
The Baroque Cello And Its Performance, Marc Vanscheeuwijck
The Baroque Cello And Its Performance, Marc Vanscheeuwijck
Performance Practice Review
RILM abstract: "Provides a short survey of the earliest sources on the bass violin and discusses both the first appearance of the term violoncello (in 1665) and terms used in Italy and elsewhere. Performance practice, playing technique, and tuning from the 16th c. are described. The possible identity of the problematic 17th-c. violone (an 8' or 12' instrument of either the violin or gamba family) is proposed in relation to the violone in contrabbasso. A discussion of playing technique is given on the basis of treatises and compositions by late-17th-c. Bolognese musicians and 18th-c. descriptions by Michel Corrette and Salvatore …
Communications And Corrections
Communications And Corrections
Performance Practice Review
End matter and Advertisements from the Spring 1996 (9/1) issue of Performance Practice Review.
The Performance Of Scriabin's Piano Music: Evidence From The Piano Rolls, Anatole Leikin
The Performance Of Scriabin's Piano Music: Evidence From The Piano Rolls, Anatole Leikin
Performance Practice Review
RILM abstract: "An investigation of Skrjabin's performing style based on the composer's piano-roll recordings, focusing on a transcription of his 1910 recording of Poeme, op. 32, no. 1. The transcription demonstrates that in performance Skrjabin significantly changed the tempos, dynamics, articulation, rhythms, and even the original notes. Such features of the composer's performing style as rubato, phrasing, pedaling, and digressions from the printed text are analyzed."
Abstract: Verdi's Ternary Structures In Les Vêpres Siciliennes, James Hepokoski
Abstract: Verdi's Ternary Structures In Les Vêpres Siciliennes, James Hepokoski
Verdi Forum
No abstract provided.
Letter To The Editor, Victor Fell Yellin
George W. Martin's Verdi Collection At The Pierpont Morgan Library, J. Rigbie Turner
George W. Martin's Verdi Collection At The Pierpont Morgan Library, J. Rigbie Turner
Verdi Forum
No abstract provided.
Poetic Prosody And Melodic Rhythm In 'Les Vêpres Siciliennes', Jeffrey Langford
Poetic Prosody And Melodic Rhythm In 'Les Vêpres Siciliennes', Jeffrey Langford
Verdi Forum
No abstract provided.
Volume 10, Various Authors
The Application Of (Ornamental) Strokes In English Virginalist Music: A Brief Chronological Survey, Desmond Hunter
The Application Of (Ornamental) Strokes In English Virginalist Music: A Brief Chronological Survey, Desmond Hunter
Performance Practice Review
RILM abstract: The English virginalists from 1530 to 1650 used signs in the form of an oblique stroke through the note stem to indicate a grace. The single stroke does not appear to have been used as a grace sign until around 1570 and was used frequently only after the later 17th c. The double stroke appears often; 16th-c. English keyboard music sources imply that it was realized with a form of shake. The triple stroke was used only in a small number of sources including 16th- and 17th-c. MSS. The sometimes idiosyncratic usage of signs suggests that composers and …