Music Commons^™

"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.

"Tudor Music." By David Wulstan, John Morehen

Performance Practice Review

Morehen reviews and critiques Wulstan's book on Tudor Music.

Musical Venues In Vienna, Seventeenth Century To The Present, Ingeborg Harer

Performance Practice Review

RILM abstract: "Consideration of musical venues is often neglected in research on historical performance practice. Many musical works are directly linked to a particular location. The characteristic features (type, size, Acoustics) of the room or building for which the music was written influenced the composer in the creation of his work. A number of venues have had a special place in the musical life of Vienna over the past four centuries. A list of principal Viennese musical buildings (theaters, opera houses, music rooms, concert halls) is included, along with the circumstances surrounding their construction, and the more important musical works--especially …

Musical Performance At San Petronio In Bologna: A Brief History, Marc Vanscheeuwijck

Performance Practice Review

RILM abstract: "The building of Bologna's most important church was decided by the Senate and begun in 1390. A regular musical chapel was created in 1436, and the first organ was installed in 1475. A second instrument was built in 1596 to perform double choir music with the chorus and the cornetto and sackbut band. During the 17th and 18th c. a considerable repertoire for large ensembles with vocal soloists, choirs, trumpets, and strings in concerted style developed in the basilica. Stylistic characteristics of the music result from the long reverberation time (12 seconds) and other acoustic qualities specific to …

Woodwind Vibrato From The Eighteenth Century To The Present, Dwight C. Manning

Performance Practice Review

RILM abstract: "Surveys methods of vibrato production in woodwind performance. Beginning with Jacques Martin-Hotteterre, 18th-c. authors recommended finger vibrato. In the 19th c., Anton Bernhard Furstenau mentioned finger as well as jaw and breath vibrato. Late in the century, Maximillian Schwendler proclaimed that vibrato is initiated in the larynx (throat). The 20th c. has seen the debate continue over whether vibrato is produced by the breathing and blowing apparatus or by the throat, with recent scientific experiments supporting the latter claim."

Violin Playing In Late Seventeenth-Century England: Baltzar, Matteis, And Purcell, Mary Cyr

Performance Practice Review

RILM abstract: "In the late 17th c., violin playing in England underwent a virtual revolution as a result of virtuoso techniques introduced by violinists from abroad such as Thomas Baltzar and Nicola Matteis. Iconographical evidence illustrates the popularity of the French bow grip and various ways of placing the instrument against the body. Technical features such as multiple stops and the messa di voce were employed extensively by Baltzar and Matteis. The likelihood that their playing influenced Henry Purcell suggests that violinists today might incorporate lively Articulation and the messa di voce in Purcell's trio sonatas of 1683."

Brossard And The Performance Of Jacquet De La Guerre's Céphale Et Procris, Wanda R. Griffiths

Performance Practice Review

RILM abstract: "Sebastien de Brossard made an arrangement of the prologue of Jacquet's tragedie en musique, and had it performed by his Academie de Musique in Strasbourg in 1696, two years after the opera's run at the Paris Opera. His arrangement sheds light on performance issues including breathing, vocal ornamentation, notes inegales, and scoring.(author)"

Giovanni Luca Conforti And Vocal Embellishment: From Formula To Artful Improvisation, Murray C. Bradshaw

Performance Practice Review

"Considers Conforti's treatise Breve et facile maniera d'essercitarsi... (1593) and his Salmi passaggiati (1601-03), revealing the vast gulf between the etude-like exercises in the treatise and the actual embellished music--a difference similar to that between the exercises of Hanon and the piano etudes of Chopin. The embellishments of this period were far more than mere displays of virtuosity; they sprang from a desire to express the deepest meanings of the text."

Performance Practice And Musical Expressivity, Roland Jackson

Performance Practice Review

"Musical expressivity is intimately associated with subtle dynamic changes--slight variations in volume between one note and the next--which help shape and make meaningful the phrases. Daniel Gottlob Turk was among the few theorists who recognized and described this subtlety."

Hollingsworth, Teresa L. (Fa 39), Manuscripts & Folklife Archives

Folklife Archives Finding Aids

Finding aid only for Folklife Archives Project 39. [Singing schools] Interview with Zilpha Amanda Hume concerning her husband’s (Archie Hume’s) singing schools where he acted as a singing school instructor. Interview was conducted by Teresa Hollingsworth for an oral history project at WesternKentucky University. Includes index, tape summary, transcription, handwritten fieldwork notes and a cassette tape.

Upcoming Events

TEMPO

No abstract provided.

Tempo Magazine Winter 2012

TEMPO

No abstract provided.

Pnc Recital Hall Lobby Dedication And Dvořák Opener

TEMPO

No abstract provided.

Our Graduates Succeed

TEMPO

No abstract provided.

Music Down Under

TEMPO

No abstract provided.

Early Childhood Music Conference

TEMPO

No abstract provided.

Table Of Contents

TEMPO

No abstract provided.

New Orchestra Director Jeffrey Turner

TEMPO

No abstract provided.

Go Where The Spirit Sends You

TEMPO

No abstract provided.

Interview With Dean Edward Kocher

TEMPO

No abstract provided.

News And Notes

TEMPO

No abstract provided.

Beyond “Air” Guitar

TEMPO

No abstract provided.

Tempo Magazine Winter 2012 (Spreads)

TEMPO

No abstract provided.

"Baroque Music, The Library Of Essays On Music Performance Practice" Edited By Peter Walls And Mary Cyr, David Schulenberg

Performance Practice Review

David Schulenberg discusses and reviews Walls' 2011 work.

Walls, Peter, ed. Baroque Music, The Library of Essays on Music Performance Practice, series editor Mary Cyr. Farnham, Surry, UK, and Burlington, VT, USA: Ashgate, 2011.

ISBN 978-0-7546-2882-8.

"Classical And Romantic Music, The Library Of Essays On Music Performance Practice" Edited By David Milsom And Mary Cyr, Colin Lawson

Performance Practice Review

Colin Lawson discusses and reviews Milsom's 2011 work.

Milsom, David ed. Classical and Romantic Music, the Library of Essays on Music Performance Practice, series editor Mary Cyr. Farnham, Surry, UK, and Burlington, VT, USA: Ashgate, 2011.

ISBN 978-0-754-62859-0.

Polychoral Performance Practice And "Maestro Di Cappella" Conducting, Florian Bassani

Performance Practice Review

This article disputes some basic questions concerning the coordination of seventeenth century sacred music, approaching the phenomenon through a musical species of particular interest, though largely unstudied from a performance practice point of view. Roman polychorality with its specific performing conditions offers an illuminating perspective on principles of musical direction and interaction which differ significantly from our modern access path towards these topics. The inquiry ranges from basics of performance (such as sheet music, rehearsals, direction technics, models and stylistic conditioning of the performers) over the concrete role of the maestro di cappella as well as the tactus as cornerstones …

A Survey Of The Sacred Choral–Orchestral Works Of Sir Henry Walford Davies (1869–1941), Martin C. Cook

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performances

In the closing years of the 19th Century, when Charles Villiers Stanford, Hubert Parry and Edward Elgar were at the height of their fame and influence in British musical society Henry Walford Davies emerged as one of the most promising talents of the day, receiving commissions from the provincial music festivals of Great Britain, which were a rite of passage for emerging composers.

Between 1904 and 1929 Davies produced eleven sacred choral-orchestral works for these festivals and one further work, which were received favorably in their day but are now almost forgotten. There are five large multi movement works: The …

Expression In Technical Exercises For The Cello: An Artistic Approach To Teaching And Learning The Caprices Of Piatti And Etudes Of Popper, Leah Hagel

Theses and Dissertations--Music

The Caprices of Piatti and Etudes of Popper are considered by most cellists to be fundamental components of the cello literature designed to provide a solid technical basis for the student. This document will provide an alternative approach to teaching and learning these works by focusing on the qualities of expression that can be developed during the process of integrating these studies into one's repertoire. After providing contextual information for the both composers and the works, I will examine how this concept of "artistry through technique" has been adopted by other art forms, used in training students on different instruments, …

Front Matter/Table Of Contents

Performance Practice Review

Includes the table of contents and journal information for this issue.

Contributors/End Matter

Performance Practice Review

Includes information about the authors features in this issue.