Music Commons^™

"Clavichord Music Of Johann Kuhnau And C. P. E. Bach" Joan Benson, Clavichordist., E. Eugene Helm

Performance Practice Review

Helm discusses and reviews Benson' 1987 recording.

Southern Harmony Singing: A Tradition Of Shape-Note Practice, Deborah C. Loftis

Performance Practice Review

Since 1884, Benton, Kentucky has hosted an annual shape-note singing event known as Big Singing Day. The singers use the 1854 edition of The Southern harmony and musical companion compiled by William Walker. Distinctions set Southern Harmony singing apart from what is described as the norm for this style of music, that is, the performance practices associated with Sacred Harp singing. Differences include seating arrangement, expertise, and style of conducting, intensity of singing, sonority, and preference in repertoire. Southern Harmony singers have tried to continue the tradition without change; Sacred Harp singers have embraced changes willingly.

Performance Practice Bibliography (1989)

Performance Practice Review

Ongoing bibliography of recent articles and books pertaining to performance practice.

"Bel Canto: The Teaching Of The Classical Italian Song-Schools, Its Decline And Restoration" By Lucie Manén, Philip Lieson Miller

Performance Practice Review

Miller discusses and reviews Manén's 1987 book.

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."

"Words And Music In The Middle Ages: Song, Narrative, Dance And Drama, 1050-1350" By John Stevens, Hans Tischler

Performance Practice Review

Tischler discusses and reviews Stevens' 1986 book.

Karl Geiringer, 1899-1989, Roland Jackson

Performance Practice Review

An obituary for the organist Karl Geiringer.

"Chopin: Pianist And Teacher As Seen By His Pupils" By Jean-Jacques Eigeldinger, Jeanne Holland

Performance Practice Review

Holland reviews and discusses Eigeldinger's 1986 book.

Table Of Contents

Performance Practice Review

Table of Contents for Vol.2, No.2 of PPR.

The Present Position Of Authenticity, Robert Donington

Performance Practice Review

"Though there continues to be lively debate as to how historically correct performances of early music can or should be, the success of so-called authenticity in today's musical culture is undeniable.(Zohn, Steven)"

Performance Practice Issues On The Bbc Third Programme, Denis Stevens

Performance Practice Review

Stevens discusses the various aspects in consideration concerning the BBC and historical performance practice.

"Meter In Music, 1600-1800" By George Houle, Alexander Silbiger

Performance Practice Review

Silbiger discusses and reviews Houle's 1987 book.

Saint-Saëns's View On The Performance Of Early Music, Robert Stevenson

Performance Practice Review

In a published lecture originally given in San Francisco in 1915, Saint-Saens discusses performance issues in the music of Palestrina, Rameau, Bach, and Mozart.

A Response From The Custodians: More Thoughts On The Stanford Temperaments, Robert Bates, Kimberly Marshall

Performance Practice Review

"Mark Lindley's suggestions for modifying the temperaments of Stanford's Fisk organ, abstracted as RILM 7410, are helpful, although other solutions may be more desirable. A third temperament for French music might be added to the organ's meantone and well-temperaments.(Zohn, Steven)"

"The Organ Music Of J.S. Bach. Volume Iii: A Background." By Peter F. Williams, Kimberly Marshall

Performance Practice Review

Marshall reviews and discusses Peter Williams' 1984 work.

Williams, Peter F. The Organ Music of J.S. Bach: A Background. Vol. 3. Cambridge: Cambridge University Press, 1984. viii, 309p.

ISBN 0-521-24412-9

Contributors

Performance Practice Review

List of contributors to the Spring 1989 (2/1) issue of Performance Practice Review.

Francesco Rognoni's "Selva De Varii Passaggi" (1602): Fresh Details Concerning Early Baroque Vocal Ornamentation, Stewart Carter

Performance Practice Review

"One of Milan's most important musicians during the late 16th and early 17th centuries was Francesco Rognoni (died before 1626), a Knight and Count Palatine, son of Richardo Rogniono. The father had published an important treatise on ornamentation nearly thirty years prior to Francesco's. The title page of Francsco's Selva tells us that Francesco was head of instrumental music at the ducal court and maestro di cappella at Santo Ambrosio Maggiore in Milan. In an earlier publication he calls himself a "player of the violin, of the viola bastarda, and other instruments." He may in fact have written the first …

"Authenticity And Early Music: A Symposium," Edited By Nicholas Kenyon, Albert Cohen

Performance Practice Review

Reviews and Critiques Kenyon's 1988 book.

Brahms's Pianos And The Performance Of His Late Works, Camilla Cai

Performance Practice Review

Brahms's late piano works (opp. 116-19) reveal his sensitivity to the characteristics of conservative, late 19th-c. pianos. A more accurate understanding of Brahms's performance indications and special piano textures would lead to performances relevant to his own playing style.

"Dance Rhythms Of The French Baroque: A Handbook For Performance" By Betty Bang Mather, Assisted By Dean M. Karns, Meredith Little

Performance Practice Review

Little discusses and reviews Mather and Karns' 1987 book.

Concerning The Performance Of Mozart's Concert Arias K. 294 And K. 528, Nicole Baker

Performance Practice Review

Vocal treatises of the 18th c. and recent research suggest that Mozart's concert arias should be embellished with restraint. Appropriate ornaments include turns, filling-in patterns, appoggiaturas, and short cadences at elongated fermatas. Two arias--Alcandro lo confesso...Non so d'onde viene, K.294, and Bella mia fiamma...Resta, o cara, K.528--are discussed in more detail.

"Orchestral Performance Practices In The Nineteenth Century: Size, Proportions, And Seating," By Daniel J. Koury., Nicholas Temperley

Performance Practice Review

Reviews and Critiques Koury's 1986 book.

Contributors/End Matter

Performance Practice Review

List of contributors from the Fall 1989 (2/2) issue of Performance Practice Review

Performance Practice Bibliography (1988)

Performance Practice Review

Bibliography of Important Books and Articles related to the Performance Practice.

"The Performance Of The Basso Continuo In Italian Baroque Music" By Tharald Borgir, John Walter Hill

Performance Practice Review

Hill discusses and reviews Borgir's 1987 book.

A History Of The Clarinet To 1820, Albert R. Rice

CGU Theses & Dissertations

This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four …

Valentin Roeser’S Essay On The Clarinet (1764) Background And Commentary, Albert Richard Rice

CGU Theses & Dissertations

Valentin Roeser’s Essai d’instruction à l’usage de ceux qui composent pour la clarinette et le cor is the earliest treatise on instrumentation and the first theoretical study of the clarinet. Comparisons are drawn with other eighteenth-century instructional materials, e.g. Francoeur’s Diapason général, La Borde’s Essai sur la musique, and Vanderhagen’s Méthode nouvelle et raisonnée pour la clarinette. A history of the chalumeau and two-keyed clarinet is presented, along with a biographical sketch of Roeser and an English translation of the first section of the Essai. Appendices include a checklist of Roeser’s writings and a list of eighteenth-century music using the …