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Tromlitz On Playing The Flute: A Résumé, Jane Bowers

Performance Practice Review

Identifies the highlights of Ardal Powell's translation of Johann Georg Tromlitz's treatise Ausfuhrlicher und grundlicher Unterricht die Flote zu spielen. Tromlitz's treatise contains information on both flute technique and performance practice in the late 18th c. The following topics in Tromlitz's treatise are analyzed in detail: practicing, tone quality, playing with expressivity, intonation, Articulation, rhythm and tempo, ornamentation, and the trill. Excerpts from Powell's translation are included.

Some Thoughts About "Last Words And Overdotting", Stephen E. Hefling

Performance Practice Review

A review and analysis of Fuller's preceeding article.

Stephen Hefling's Book: Another View, Erich Schwandt

Performance Practice Review

A brief review of Stephen Hefling's book "Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes inegale and Overdotting."

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 Expressive Pause: Punctuation, Rests, And Breathing In England 1770-1850, Robert Toft

Performance Practice Review

Examines the close relationship between the arts of singing and speaking in English treatises on singing published from the late-18th to the mid-19th c. Speech patterns are compared to the singer's practices of punctuation, rests, and breathing in order to explain the highly articulated singing style of the period."

Performance Practice In The Indeterminate Works Of John Cage, Judith Irene Lochhead

Performance Practice Review

The recordings of Cage's indeterminate works such as Variations I, Fontana mix, Cartridge music, Variations II, and Variations III reveal certain traditions in their performance, in both form and style.

"Wagner In Performance." Eds. Barry Millington And Stewart Spencer, José Antonio Bowen

Performance Practice Review

A brief review of Barry Millington and Stewart Spencer's book "Wagner in Performance."

"Early Recordings And Musical Style: Chaning Tastes In Instrumental Performance, 1900-1950." By Robert Philip, Douglas Leedy

Performance Practice Review

Leedy discusses and reviews Philip's 1992 book.

"Makers Of The Piano, 1700-1820." By Martha Novak Clinkscale, Malcolm S. Cole

Performance Practice Review

Cole reviews Clinkscales 1993 book.

Frederick Neumann's Final Book--An Appraisal, Albert Cohen

Performance Practice Review

A brief review of Neumann's last book, "Performance Practice of the Seventeenth and Eighteenth Centuries.

Cover/Front Matter

Performance Practice Review

Cover, Table of Contents, and Copyright Information.

Front Matter/Table Of Contents

Performance Practice Review

Cover, Table of Contents, and Copyright Information.

Italian Split-Keyboard Instruments With Fewer Than Nineteen Divisions To The Octave, Denzil Wraight, Christopher Stembridge

Performance Practice Review

Checklists of (1) surviving Italian harpsichords and virginals with split black keys; (2) similar instruments not known to survive but whose existence can be documented; (3) 26 Italian organs built during the period 1468-1665 that are known to have had split keys. Gives the ranges of these instruments when known. Discusses Frescobaldi's probable involvement with such instruments.

Last Words On Inequality And Overdotting: A Review Of Stephen Hefling's Book, David Fuller

Performance Practice Review

Fuller attempts to make definitve decisions about "appropriate" articulation and rhythmic interpretation in 17th and 18th century music.

The Expressive Pause: Punctuation, Rests, And Breathing In England, 1770-1850, Robert Toft

Performance Practice Review

Examines the close relationship between the arts of singing and speaking in English treatises on singing published from the late-18th to the mid-19th c. Speech patterns are compared to the singer's practices of punctuation, rests, and breathing in order to explain the highly articulated singing style of the period.

The Uses Of Rubato In Music, Eighteenth To Twentieth Centuries, Sandra P. Rosenblum

Performance Practice Review

Tempo rubato is a disregard of certain notated properties of rhythm and tempo for the sake of expressive performance. There are two basic types of rubato practices. Contrametric rubato involves a solo melody moving in subtly or equally redistributed note values (sometimes with added notes) against a steady pulse in the accompaniment. Structural or agogic rubato involves the simultaneous retardation or acceleration of tempo of the entire performing body. Theories on rubato practice from Lodovico Zacconi (1592) to Marian Sobieski and Jadwiga Sobieska (1960) are considered, as is use of rubato by composers from Giovanni da Cascia in the 14th …

"Music Of Forty Several Parts": A Song For The Creation Of Princes, Ian Woodfield

Performance Practice Review

Examines the performance circumstances surrounding an early 17th-c. English adaptation of Thomas Tallis's 40-part motet, Spem in alium nunquam habui (Sing and glorify heaven's high majesty), for two investiture ceremonies in 1610 and 1616; the purpose of these two particular ceremonies are investigated. The resurrection of the work for the next investiture of the new Prince of Wales is proposed.

The Eingang In Early Beethoven, David Polan

Performance Practice Review

A brief historical and theoretical consideration of the late-18th- and early-19th-c. Eingang--a short, cadenza-like flourish for the soloist to announce a solo section in a concerto--together with an examination of Beethoven's use of the convention. Musical examples from Beethoven show both implied and written-out examples. Beethoven tended to write out such passages in his later works.

Tuning Renaissance And Baroque Instruments: Some Guidelines, Mark Lindley

Performance Practice Review

Provides detailed guidelines for tuning keyboard instruments, including the harpsichord, piano, and organ. Musical examples for tuning unisons between overtones in consonant intervals and octaves are included. Other musical examples illustrate the procedures for setting a quasi-Pythagorean temperament, a meantone temperament, a temperament ordinaire, a Bach-style irregular temperament, and an equal temperament.

Frederick Neumann (1907-1994), Multi-Faceted Musician And Scholar, Homer Rudolf

Performance Practice Review

A brief editorial outlining Neumann's life and works.

Frederick Neumann: Challenger Of Held Opinion, Roland Jackson

Performance Practice Review

Jackson discusses Neumann's contributions to the fields of Musicology and Preformance Practce studies.

Contributors/End Matter

Performance Practice Review

List of contributors in the Fall 1994 issue of Performance Practice Review.

Advertisements for the Fall 1994 of Performance Practice Revew.

Performance Practice Bibliography (1993)

Performance Practice Review

Bibliography of various articles/books on performance practice published 1989-1993.

Contributors/End Matter

Performance Practice Review

A list of contributors to the current (Spring 1994) issue of Performance Practice Review and a correction for a previous issue.

Corrections and End Matter for the Spring 1994 issue of Performance Practice Review.

"Musica Getutscht: A Treatise On Musical Instruments (1511)."By Sebastian Virdung. Trans. And Ed. Beth Bullard, Keith Polk

Performance Practice Review

A book review of Beth Ballard's translation and edition of Musica Getutscht by Virdung.

Front Matter/Table Of Contents

Performance Practice Review

Front matter to the Spring 1993 (6/1) of Performance Practice Review.

"Perspectives On Mozart Performance." By R. Larry Todd And Peter Williams, Malcolm S. Cole

Performance Practice Review

Cole discusses and reviews Todd and Williams' 1991 book.

Mendelssohn, Berlioz, And Wagner As Conductors: The Origins Of The Ideal Of "Fidelity To The Composer", Jose Antonio Bowen

Performance Practice Review

As conductors of other composers' music, Mendelssohn, Berlioz, and Wagner professed the desire to be faithful in some sense to the conducted work, but each understood this fidelity differently. Mendelssohn and Berlioz saw performance as recreative, while Wagner was the first to regard it as a creative or interpretive act.

Pathfinder In Performance Practice: Howard Mayer Brown, 1930-1993, Roland Jackson

Performance Practice Review

Jackson discusses Brown's contributions to the field of Performance Practice in Musicology.

The Cimbalo Cromatico And Other Italian Keyboard Instruments With Ninteen Or More Division To The Octave (Surviving Specimens And Documentary Evidence), Christopher Stembridge

Performance Practice Review

An earlier article (abstracted as RILM 9191) established that the cimbalo cromatico had 19 keys per octave. No such instrument survives, but two show traces of having been such (including a harpsichord by Franciscus Faber, 1631). Luython's clavicymbalum universale described by Michael Praetorius, and other documented instruments in Graz and in Ferrara, Rome, and elsewhere in Italy, are discussed. Harpsichords and organs with more than 19 keys per octave clearly related in design to the cimbalo cromatico include instruments made by Domenico da Pesaro, Vincenzo Colombo, Vido Trasuntino, and designed by Gioseffo Zarlino, Nicola Vicentino, Francisco de Salinas, Fabio Colonna, …