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Full-Text Articles in Music Practice
Some Observations Concerning Baroque And Modern Vibrato, Frederick Kent Gable
Some Observations Concerning Baroque And Modern Vibrato, Frederick Kent Gable
Performance Practice Review
Supports a narrow and ornamentally used vibrato in Baroque music, and the basic conclusions of Greta Moens-Haenen in Das Vibrato in der Musik des Barock (RILM 88-8038), adding personal observations and comparisons of present performance styles. Emphasizes solo and ensemble vocal vibrato and violin vibrato. Disputes the pro-vibrato views of Robert Donington (RILM 82-1459) and Frederick Neumann (RILM 91-3698).
Was The "Well-Tempered Clavier" Performable On A Fretted Clivichord?, Richard Loucks
Was The "Well-Tempered Clavier" Performable On A Fretted Clivichord?, Richard Loucks
Performance Practice Review
Analysis of the Wohltemperirtes Clavier shows that some of the fretting schemes for clavichords used in Bach's time permit performance of the work with approximately 179 voice-leading conflicts, of which five are difficult to perform and two impossible.
Vibrato In Eighteenth Century Orchestras, Neal Zaslaw
Vibrato In Eighteenth Century Orchestras, Neal Zaslaw
Performance Practice Review
A rebuttal of Neumann, The vibrato controversy (see RILM 8965). The published writings of Galeazzi (1791-96), Geminiani (1751), Robert Bremner (1777), Carl Friedrich Cramer (1783), L. Mozart (1756), and the correspondence of W.A. Mozart (1778) maintain that vibrato was usually not employed by ripienists in 18th-c. orchestras, but only by soloists, and then used sparingly compared to modern practice.
"Performance Practice: Music After 1600." By Howard M. Brown And Stanley Sadie, Albert R. Rice
"Performance Practice: Music After 1600." By Howard M. Brown And Stanley Sadie, Albert R. Rice
Performance Practice Review
Rice discusses and reviews Brown and Sadie's 1989 book.
"Performance Practice: Music After 1600." By Howard M. Brown And Stanley Sadie, George Houle
"Performance Practice: Music After 1600." By Howard M. Brown And Stanley Sadie, George Houle
Performance Practice Review
Houle discusses and reviews Brown and Sadie's 1989 book.
"New Essays On Performance Practice." By Frederick Neumann, Erich Schwandt
"New Essays On Performance Practice." By Frederick Neumann, Erich Schwandt
Performance Practice Review
Schwandt discusses and reviews Neumann's 1989 book.
The Vibrato Controversy, Frederick Neumann
The Vibrato Controversy, Frederick Neumann
Performance Practice Review
Today's early music specialists either ban the use of vibrato or restrict it drastically. This position suffers from three principal weaknesses: the failure to understand the nature of a well-produced vibrato in which the so-called impurities of pitch become inaudible above a certain threshold of speed, through a mysterious brain function (comparable to that involved in stereophonic sound or stereoscopic vision); a misinterpretation of sources; and an unawareness of extensive historical evidence for vibrato use through four centuries, culminating in Mozart's eulogy of a fine vibrato for voice and instruments.
"Thorough-Bass Accompaniment According To Johann David Heinichen." Rev. Ed. By George Buelow, Philip Wade Russom
"Thorough-Bass Accompaniment According To Johann David Heinichen." Rev. Ed. By George Buelow, Philip Wade Russom
Performance Practice Review
Russom discusses and reviews Buelow's 1986 edition.
Michel Blavet's Breathing Marks: A Rare Source For Musical Phrasing In Eighteenth-Century France, Lewis Emanuel Peterman
Michel Blavet's Breathing Marks: A Rare Source For Musical Phrasing In Eighteenth-Century France, Lewis Emanuel Peterman
Performance Practice Review
Isolates 15 musical contexts that determine Blavet's choices for musical phrasing and proposes that they represent the unspoken, assumed rules that either consciously or unconsciously guided Blavet's choices.
"Mozart's Symphonies: Context, Performance Practice, Reception." By Neal Zaslaw, Malcolm S. Cole
"Mozart's Symphonies: Context, Performance Practice, Reception." By Neal Zaslaw, Malcolm S. Cole
Performance Practice Review
Cole discusses and reviews Zaslaw's 1989 book.
"Authenticity In Performance: Eighteenth-Century Case Studies." By Peter Le Huray, George Houle
"Authenticity In Performance: Eighteenth-Century Case Studies." By Peter Le Huray, George Houle
Performance Practice Review
Houle discusses and reviews Le Huray's 1990 book.
"J. S. Bach As Organist: His Instruments, Music And Performance Practices" George Stauffer And Ernest May, Eds., Kimberly Marshall
"J. S. Bach As Organist: His Instruments, Music And Performance Practices" George Stauffer And Ernest May, Eds., Kimberly Marshall
Performance Practice Review
Marshall discusses and reviews Stauffer and May's 1986 book.
"Performance Practices In Classic Piano Music" By Sandra P. Rosenblum, A. Peter Brown
"Performance Practices In Classic Piano Music" By Sandra P. Rosenblum, A. Peter Brown
Performance Practice Review
Brown discusses and reviews Rosenblum's 1988 book.
"Bel Canto: The Teaching Of The Classical Italian Song-Schools, Its Decline And Restoration" By Lucie Manén, Philip Lieson Miller
"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.
"The Organ Music Of J.S. Bach. Volume Iii: A Background." By Peter F. Williams, Kimberly Marshall
"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