2024-03-28T09:56:32Z
http://scholarship.claremont.edu/do/oai/
oai:scholarship.claremont.edu:ppr-1001
2012-12-18T16:54:48Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Front Matter
Music Practice
Front Matter
<p>Table of Contents</p>
1
oai:scholarship.claremont.edu:ppr-1002
2012-11-30T17:48:19Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Performance Practice: Criticism, Summary, Discovery
Jackson, Roland
Music Practice
Editorial
Instrumentation And Orchestration History, Music-18th century-Performance, Music-Interpretation (Phrasing, dynamics, etc.)
<p>Promising new directions for performance research include: (1) firsthand experience with historical instruments; (2) reexamining musical sources; (3) exploring archival and literary material; and (4) establishing links with ethnic research.</p>
1
oai:scholarship.claremont.edu:ppr-1003
2012-11-30T17:30:58Z
publication:journals
publication:ppr
publication:library
publication:current_journals
The Performance of French Baroque Music: A Report on the State of Current Research
Cohen, Albert
Performance Practice
Baroque Music
French Style
Musicology
Music Performance
Music Practice
Article
Baroque Music, Music France, Music France 17th Century History And Criticism, Music research, Music--Bibliography., Performance practice (Music)-History-17th century
<p>A survey, with a bibliography, of published research on French Baroque performance practice that appeared during the period 1978-88.</p>
1
oai:scholarship.claremont.edu:ppr-1004
2012-11-30T17:33:55Z
publication:journals
publication:ppr
publication:library
publication:current_journals
'Back to the Land': Performance Practice and the Classic Period
Cole, Malcom S.
Performance Practice
18th Century
Classical Period
Musicology
Music Performance
Music Practice
Article
Music research, Performance practice (Music), Performance practice (Music)-History-18th century
<p>Although much valuable work has been done on performance practice in the Classic period, many issues await detailed study.</p>
1
oai:scholarship.claremont.edu:ppr-1005
2012-11-30T17:36:00Z
publication:journals
publication:ppr
publication:library
publication:current_journals
The "Not-so-precisely Measured" Music of the Middle Ages
van der Werf, Hendrik
Troubadour song
Trouvere Song
Middle Ages
Rhythm
Meter
Musicology
Music Performance
Music Practice
Article
Middle ages, Music Notation, Musical meter and rhythm, Performance practice (Music), Poetry, Troubadour Songs, Trouvere Songs
<p>Evidence from medieval writers, musical notation, and variant readings in the sources all suggest that troubadour and trouvere songs were performed in more or less equal note values and in a manner that presented the poetry clearly.</p>
1
oai:scholarship.claremont.edu:ppr-1006
2012-11-30T17:37:50Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Stravinsky, Tempo, and Le Sacre
Buxbaum, Erica Heisler
Stravinsky
Sacre du Printemps
tempo
Musicology
Music Performance
Music Practice
Article
Performance practice (Music), Sound Recording and Reproducing History, Stravinsky, Igor, 1882-1971, Stravinsky, Igor, 1882-1971. Sacre du printemps, Tempo
<p>In reviews of recorded performances by others of Le sacre du printemps, Stravinsky contradicted his metronome markings and his own recorded performance tempos. His preferred tempos in the reviews encompass a range wider than the markings imply, yet more narrow than his own performance tempos suggest.</p>
1
oai:scholarship.claremont.edu:ppr-1007
2012-11-30T17:40:16Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Interpretation Problems of Ornament Symbols and Two Recent Case Histories: Hans Klotz on Bach, Faye Fergusonon Mozart
Neumann, Frederick
Wolfgang Amadeus Mozart
Johann Sebastian Bach
Ornamentation
Music Performance
Music Practice
Article
Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Embellishment (Music)-18th century, Ferguson, Faye, Klotz, Hans, 1900-1987, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791-Criticism and interpretation, Music Interpretation Phrasing Dynamics Etc. Philosophy and Aesthetics, Ornamentation (Music), Performance practice (Music)
<p>The reliance on 17th- and 18th-c. ornament tables in 'authentic' performance often leads to rigid interpretations. A monograph by Hans Klotz (RILM 1984-05515-bm) and a review by Faye Ferguson perpetuate a rigid view of how 18th-c. ornaments should be interpreted.</p>
1
oai:scholarship.claremont.edu:ppr-1008
2012-11-30T17:41:53Z
publication:journals
publication:ppr
publication:library
publication:current_journals
A Suggested Improvement for the Fisk Organ at Stanford
Lindley, Mark
Charles Fisk
Organ
Temperament
Music Performance
Music Practice
Other Music
Article
Fisk, Charles B., 1925-1983, Musical temperament, Organ, Performance practice (Music)
<p>The unequal temperaments of Stanford's Fisk organ should be modified to reflect more accurately the characteristics of Renaissance and Baroque keyboard tunings.</p>
1
oai:scholarship.claremont.edu:ppr-1009
2012-11-30T17:44:14Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Jean-Henry D'Anglebert and the Seventeenth-Century Clavecin School." By Beverly Scheibert.
Schwandt, Erich
Music Practice
Book Review
Anglebert, J. Henry d’ (Jean Henry), 1628-1691, Clavecin vertical, Music reviews, Performance practice (Music)-History-17th century, Scheibert, Beverly
<p>Reviews and critiques Scheibert's 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1010
2012-11-30T17:45:57Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Performing Haydn's The Creation: Reconstructing the Earliest Renditions." By A. Peter Brown
Hammond, Frederick
Music Practice
Book Review
Brown, A. Peter, Haydn, Franz Joseph, 1732-180, Haydn, Franz Joseph, 1732-180, Haydn, Joseph, 1732-1809. Schöpfung
<p>Reviews and critiques Brown's 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1011
2012-12-18T16:56:01Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Contributors/End Matter
Music Practice
End Matter
<p>Includes information about the authors features in this issue.</p>
1
oai:scholarship.claremont.edu:ppr-1012
2012-11-30T17:50:01Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Performance Practice Bibliography (1987)
Music Practice
Bibliography
<p>A bibliography of important books and/or articles published up to 1987.</p>
1
oai:scholarship.claremont.edu:ppr-1013
2012-12-17T22:54:10Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Front Matter/Table of Contents
Music Practice
Front Matter
<p>Includes the table of contents and journal information for this issue.</p>
1
oai:scholarship.claremont.edu:ppr-1022
2012-12-18T16:59:20Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Contributors
Music Practice
End Matter
<p>List of contributors to the Spring 1989 (2/1) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1018
2012-11-30T18:00:16Z
publication:journals
publication:library
publication:ppr
publication:current_journals
"Meter in Music, 1600-1800" By George Houle
Silbiger, Alexander
Music Practice
Book Review
Baroque Music, Music-17th century-History and criticism, Music-18th century-History and criticism, Musical meter and rhythm, Tempo
<p>Silbiger discusses and reviews Houle's 1987 book.</p>
1
oai:scholarship.claremont.edu:ppr-1020
2012-11-30T18:07:20Z
publication:journals
publication:library
publication:ppr
publication:current_journals
"Dance Rhythms of the French Baroque: a Handbook for Performance" By Betty Bang Mather, assisted by Dean M. Karns
Little, Meredith
Music Practice
Book Review
Baroque Music, Dance Music 15th Century, Dance Music France 17th Century History and Criticism, Music France, Music-17th century-History and criticism
<p>Little discusses and reviews Mather and Karns' 1987 book.</p>
1
oai:scholarship.claremont.edu:ppr-1017
2012-11-30T17:59:03Z
publication:journals
publication:library
publication:ppr
publication:current_journals
"Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050-1350" By John Stevens
Tischler, Hans
Music Practice
Book Review
Latin literature, Medieval and modern, Music 15th Century Performance, Music-15th century-History and criticism, Theater-15th century
<p>Tischler discusses and reviews Stevens' 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1016
2012-11-30T17:57:42Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Performance Practice Issues on the BBC Third Programme
Stevens, Denis
BBC
20th Century
Music Practice
Article
British Broadcasting Corporation, British Broadcasting Corporation, Performance practice (Music)-History-20th century, Radio
<p>Stevens discusses the various aspects in consideration concerning the BBC and historical performance practice.</p>
1
oai:scholarship.claremont.edu:ppr-1019
2012-11-30T18:01:40Z
publication:journals
publication:library
publication:ppr
publication:current_journals
"The Performance of the Basso Continuo in Italian Baroque Music" By Tharald Borgir
Hill, John Walter
Music Practice
Book Review
Baroque Music, Basso continuo, Basso continuo, Italy, Music-Italy, Performance practice (Music)
<p>Hill discusses and reviews Borgir's 1987 book.</p>
1
oai:scholarship.claremont.edu:ppr-1015
2012-11-30T17:56:10Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Brahms's Pianos and the Performance of His Late Works
Cai, Camilla
Johannes Brahms
Piano technique
Music Practice
Article
Brahms, Johannes, 1833-1897, Musical instruments-History, Performance practice (Music)-History-19th century, Piano, Piano technique
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1021
2012-11-30T18:04:44Z
publication:journals
publication:library
publication:ppr
publication:current_journals
"Chopin: Pianist and Teacher as Seen by His Pupils" By Jean-Jacques Eigeldinger
Holland, Jeanne
Music Practice
Book Review
Chopin, Frédéric, 1810-1849, Piano pedagogy, Piano teaching, Piano-Performance
<p>Holland reviews and discusses Eigeldinger's 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1014
2012-11-30T17:54:55Z
publication:journals
publication:library
publication:ppr
publication:current_journals
New Light on Late Eighteenth-Century Tempo: William Crotch's Pendulum Markings
Rubin, Emanuel
William Crotch
Tempo Indications
Music Practice
Article
Crotch, William, 1775-1847, Crotch, William, 1775-1847, Music England, Music-18th century-Performance, Performance Practice Music, Singing Instruction and Study England History 18th Century, Tempo
<p>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."</p>
1
oai:scholarship.claremont.edu:ppr-1025
2012-11-30T20:51:46Z
publication:journals
publication:ppr
publication:library
publication:current_journals
The Present Position of Authenticity
Donington, Robert
Music Practice
Article
Authenticity (Philosophy), Authenticity (Philosophy), Early music, Early music, Performance practice (Music)
<p>"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)"</p>
1
oai:scholarship.claremont.edu:ppr-1024
2011-12-27T17:52:03Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Table of Contents
Music Practice
Front Matter
<p>Table of Contents for Vol.2, No.2 of PPR.</p>
1
oai:scholarship.claremont.edu:ppr-1026
2012-12-17T22:43:17Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Saint-Saëns's View on the Performance of Early Music
Stevenson, Robert
Saint-Saëns
Palestrina
Rameau
Bach
Mozart
Music Practice
Article
Bach Johann Sebastian 1685 1750 Well Tempered Clavier, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Palestrina, Giovanni Pierluigi da, 1525?-1594, Rameau, Jean-Philippe, 1683-1764, Saint-Saëns, Camille, 1835-1921
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1028
2012-12-17T22:52:41Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Karl Geiringer, 1899-1989
Jackson, Roland
Geiringer
Obituary
Music Practice
In Memorium
Geiringer, Karl, 1899-1989
<p>An obituary for the organist Karl Geiringer.</p>
1
oai:scholarship.claremont.edu:ppr-1030
2012-12-17T22:46:27Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Orchestral Performance Practices in the Nineteenth Century: Size, Proportions, and Seating," by Daniel J. Koury.
Temperley, Nicholas
Music Practice
Book Review
Koury, Daniel J., 1926-, Orchestra, Performance practice (Music)-History-19th century
<p>Reviews and Critiques Koury's 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1031
2012-12-17T22:47:29Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Authenticity and Early Music: A Symposium," Edited by Nicholas Kenyon
Cohen, Albert
Music Practice
Book Review
Authenticity (Philosophy), Authenticity (Philosophy), Early music, Early music, Kenyon, Nicholas, 1951-
<p>Reviews and Critiques Kenyon's 1988 book.</p>
1
oai:scholarship.claremont.edu:ppr-1027
2012-12-17T22:44:21Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Concerning the Performance of Mozart's Concert Arias K. 294 and K. 528
Baker, Nicole
Mozart
Vocal Performance Practice
K.294
K.528
Music Practice
Article
Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791. Arias, Ornamentation (Music), Performance practice (Music)
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1032
2012-12-17T22:58:42Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Contributors/End Matter
Music Practice
End Matter
<p>List of contributors from the Fall 1989 (2/2) issue of Performance Practice Review</p>
1
oai:scholarship.claremont.edu:ppr-1029
2012-12-17T22:45:24Z
publication:journals
publication:ppr
publication:library
publication:current_journals
A Response from the Custodians: More Thoughts on the Stanford Temperaments
Bates, Robert
Marshall, Kimberly
Music Practice
Article
Fisk, Charles B., 1925-1983, Organ, Organ builders, Performance practice (Music), Stanford University, Temperament
<p>"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)"</p>
1
oai:scholarship.claremont.edu:ppr-1036
2012-12-17T23:03:59Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Tempo in Mahler as Recollected by Natalie Bauer-Lechner
Raabe, Nancy M.
Mahler
Tempo
Music Practice
Article
Mahler, Gustav, 1860-1911, Music-19th century, Performance practice (Music)-History-19th century, Tempo
<p>"There is no standard concert hall repertoire in which lack of sensitivity to tempo and Expression marks is more damaging than Mahler's symphonies. Their coherence lies in a series of tonal relationships emphasized by thematic connections, and tempo provides the medium through which these connections are made. Drawing on the writings of Mahler's friend Natalie Bauer-Lechner, the importance of tempo in Mahler's works is illustrated by the composer's own words."</p>
1
oai:scholarship.claremont.edu:ppr-1034
2012-12-17T23:16:59Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Table of Contents
Music Practice
Front Matter
<p>Front matter and Table of Contents from the Spring 1990 (3/1) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1037
2012-12-17T23:05:59Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"'Musica ficta': Theories of Accidental Inflections in Vocal Polyphony from Marchetto de Padova to Gioseffo Zarlino" By Karol Berger
Harrán, Don
Music Practice
Book Review
Music-15th century-History and criticism, Music, Renaissance, Musica ficta, Vocal music
<p>Harran discusses and reviews Berger's 1987 book.</p>
1
oai:scholarship.claremont.edu:ppr-1035
2012-12-17T23:03:06Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Questions concerning the Edition of the 'Goldberg Variations' in the Neue Bach Ausgabe
Schwandt, Erich
Music Practice
Article
Bach Johann Sebastian 1685 1750 Goldberg Variationen, Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750. Works. 1954, Keyboard instrument music
<p>The edition of BWV 988 has a number of serious errors that make it unsuitable for performance or study. The editor, Christoph Wolff, has introduced arbitrary readings, redistributed articulation marks, and misread ornaments. The editors of the Neue Bach Ausgabe ought to consider withdrawing the edition. (Rabin, Ronald J.)</p>
1
oai:scholarship.claremont.edu:ppr-1033
2012-12-17T22:51:31Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Performance Practice Bibliography (1988)
Music Practice
Bibliography
<p>Bibliography of Important Books and Articles related to the Performance Practice.</p>
1
oai:scholarship.claremont.edu:ppr-1038
2012-12-17T23:07:06Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"The Florentine Camerata: Documentary Studies and Translations." By Claude V. Palisca
Hitchcock, Hugh Wiley
Music Practice
Book Review
Florence (Italy), Music-Italy, Music, Renaissance
<p>Hitchcock discusses and reviews Palisca's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1040
2012-12-17T23:09:17Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"J. S. Bach as Organist: His Instruments, Music and Performance Practices" George Stauffer and Ernest May, eds.
Marshall, Kimberly
Music Practice
Book Review
Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Baroque music, Keyboard instrument, Keyboard instrument, Musical instruments-History, Organ, Performance practice (Music), Performance practice (Music)-History-18th century
<p>Marshall discusses and reviews Stauffer and May's 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1041
2012-12-17T23:10:34Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Performance Practices in Classic Piano Music" By Sandra P. Rosenblum
Brown, A. Peter
Music Practice
Book Review
Musical instruments-History, Performance practice (Music)-History-18th century, Performance practice (Music)-History-19th century, Piano, Piano technique
<p>Brown discusses and reviews Rosenblum's 1988 book.</p>
1
oai:scholarship.claremont.edu:ppr-1039
2012-12-17T23:08:06Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Continuo Playing on the Lute, Archlute and Theorbo" By Nigel North
Tyler, James
Music Practice
Book Review
Archlute, Basso continuo, Basso continuo, Lute, Lute music, Lute-Performance-History, Musical instruments-History, Theorbo
<p>Tyler discusses and reviews North's 1987 book.</p>
1
oai:scholarship.claremont.edu:ppr-1042
2012-12-17T23:11:43Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Bel canto: The Teaching of the Classical Italian Song-Schools, Its Decline and Restoration" By Lucie Manén
Miller, Philip Lieson
Music Practice
Book Review
Bel canto, Music-Italy, Performance practice (Music), Performance practice (Music)-History-18th century, Performance practice (Music)-History-19th century, Vocal technique
<p>Miller discusses and reviews Manén's 1987 book.</p>
1
oai:scholarship.claremont.edu:ppr-1044
2012-12-17T23:13:43Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"'Historical Performance': The Journal of Early Music America" Paul C. Echols, ed.
Houle, George
Music Practice
Periodical Review
Echols, Paul., Music Periodicals, Music reviews
<p>Houle discusses and reviews the periodical published by Early Music America.</p>
1
oai:scholarship.claremont.edu:ppr-1045
2012-12-17T23:12:37Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Clavichord Music of Johann Kuhnau and C. P. E. Bach" Joan Benson, clavichordist.
Helm, E. Eugene
Music Practice
Recording Review
Bach, Carl Philipp Emanuel, 1714-1788, Clavichord, Kuhnau, Johann, 1660-1722, Musical instruments-History, Record review
<p>Helm discusses and reviews Benson' 1987 recording.</p>
1
oai:scholarship.claremont.edu:ppr-1047
2012-12-17T23:18:09Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Contributors/End Matter
Music Practice
End Matter
<p>List of contributors to the Spring 1990 (3/1) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1043
2012-12-17T23:04:59Z
publication:journals
publication:ppr
publication:library
publication:current_journals
A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day
Chusid, Martin
Verdi
"Giovanna d'Arco"
Music Practice
Article
19th century, Opera, Opera-Production and direction, Performance practice (Music)-History-19th century, Verdi, Giuseppe, 1813-1901. Giovanna d'Arco, Vocal technique
<p>A relatively long letter from Giuseppe Verdi to the Florentine vocal director Pietro Romani, reproduced here, indicates the tempos for individual numbers of his opera Giovanna d'Arco. Verdi had a general preference for quicker tempos. The letter also provides valuable evidence for the different roles of the vocal director (Maestro di cappella, Maestro al cembalo, Maestro della musica, Maestro delle opere, or Maestro concertatore) and concertmaster, who served as the orchestra's leader, suggesting an account of the evolution of divided direction of Italian opera into the modern situation of direction by a single conductor.</p>
1
oai:scholarship.claremont.edu:ppr-1046
2012-12-17T23:15:06Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Communications
Houle, George
Silbiger, Alexander
Music Practice
Correspondence
<p>Various communications concerning previous topics covered in Performance Practice Review</p>
1
oai:scholarship.claremont.edu:ppr-1048
2012-12-17T23:27:56Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Front Matter/Table of Contents
Music Practice
Front Matter
<p>Cover, Table of Contents, and Copyright Information.</p>
1
oai:scholarship.claremont.edu:ppr-1049
2012-12-17T23:25:12Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Performance Practice: A Manifestation of Our Time?
Jackson, Roland
Music Practice
Editorial
Music reviews, Performance practice (Music)
<p>Contrasts the antihistorical, conceptualist attitude (treating the past as our conception of it) of certain performance critics with the historical, realist position (holding that a discoverable reality can be found in the past) of certain performance-practice exponents.</p>
1
oai:scholarship.claremont.edu:ppr-1050
2012-12-17T23:19:23Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Villanescas of the Virtuosi: Lasso and the Commedia dell'arte
Farahat, Martha
Commedia dell'arte
Massimo Troiano
Orlando di Lasso
Music Practice
Article
Commedia dell'arte, Commedia dell'arte-History, Commedia dell'arte-illustrations, Incidental music., Lasso, Orlando di, 1532-1594, Performance practice (Music)-History-1568, Performance practice (Music)-History-16th century, Performance practice (Music)-History-17th century, René II, Duc de Lorraine, 1451-1508, Theater, Troiano, Massimo, 16th cent., Villanesche, Wilhelm V, Duke of Bavaria, 1548-1626
<p>"Little is known about the music of the 16th- and 17th-c. Commedia dell'arte due to the improvisatory nature of the genre. The most detailed account of a commedia performance is in the composer Massimo Troiano's Discorsi... describing the festivities on the occasion of the wedding of Wilhelm V, Duke of Bavaria and Renee of Lorraine (1568). This account only mentions a few musical pieces: the music between acts and one internal song by Roland de Lassus, the kapellmeister. It is possible that Troiano did not mention all the music; close scrutiny of Lassus's 1581 Libri di villanelle... reveals that some of these pieces might have been used in commedia, including the 1568 performance." (Adams, Sarah)</p>
1
oai:scholarship.claremont.edu:ppr-1052
2012-12-17T23:22:59Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Southern Harmony Singing: A Tradition of Shape-Note Practice
Loftis, Deborah C.
Shape-note
William Walker
Music Practice
Article
Music-Kentucky-Benton, Religious music, Sacred harp, Shape-note singing, Shape-note singing-Social aspects-United States., Walker William Aiken 1838 1921
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1054
2012-12-17T23:28:53Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Announcements/Contributors
Music Practice
End Matter
<p>Describes current events such as conferences and musicological projects relating to performance practice.</p>
<p>Lists of contributors from the Fall 1990 (3/2) of Performance Practice review.</p>
1
oai:scholarship.claremont.edu:ppr-1053
2012-12-17T23:23:55Z
publication:journals
publication:library
publication:ppr
publication:current_journals
"Ornamentation and Improvisation in Mozart." By Frederick Neumann.
Cole, Malcolm S.
Music Practice
Book Review
Improvisation (Music), Improvisation Music History, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791-Criticism and interpretation, Ornamentation (Music)
<p>Reviews and critiques Neumann's 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1051
2012-12-17T23:20:21Z
publication:journals
publication:library
publication:ppr
publication:current_journals
The Trio Sonata in Pre-Corellian Prints: When Does 3 = 4?
Mangsen, Sandra
Arcangelo Corelli
Trio Sonatas
Music Practice
Article
Corelli, Arcangelo, 1653-1713, Corelli, Arcangelo, 1653-1713, Instrumentation And Orchestration History, Orchestration, Trio sonatas-18th century
<p>Printed sources of pre-Corellian trios include several distinct scorings, one of which requires four performers (SSBbc). Particular scorings correlate with musical style and function. Melodic bass and chordal continuo were employed in the church sonata; one or the other in the dance repertoire. Moreover, the stronger the contrapuntal role of the bass part, the more likely it was to be played on a melodic instrument. After 1660, sacred and secular scoring practices became less distinct. Increasingly active dance bass lines were more often figured, while chordal and melodic bass parts of church sonatas became nearly identical.</p>
1
oai:scholarship.claremont.edu:ppr-1057
2012-12-17T23:49:04Z
publication:journals
publication:ppr
publication:library
publication:current_journals
More (and Less) on Bach's Orchestra
Rifkin, Joshua
Johann Sebastian Bach
Orchestration
Music Practice
Article
Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Baroque music, Baroque orchestration, Baroque scoring, Music-Germany, Musical instruments-History
<p>Hans-Joachim Schulze has argued that Bach wanted his music to be performed by large forces, and therefore performances with sharply downsized, even so-called soloistic ensembles misrepresent the composer's intentions. A review of the matter, however, shows that Schulze has misread, and even misrepresented, the relevant evidence, and that Bach's preferences indicate a far more varied picture than Schulze would allow.</p>
1
oai:scholarship.claremont.edu:ppr-1058
2012-12-17T23:50:01Z
publication:journals
publication:ppr
publication:library
publication:current_journals
The Vibrato Controversy
Neumann, Frederick
Vibrato
Ornamentation
Baroque
Classical
Music Practice
Article
Flute, Musical instruments-History, Ornamentation (Music), Performance practice (Music)-History-17th century, Performance practice (Music)-History-18th century, Violin
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1059
2012-12-17T23:50:50Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Vibrato in Eighteenth Century Orchestras
Zaslaw, Neal
Vibrato
Ornamentation
Music Practice
Article
Bowed Stringed Instruments Instruction and Study, Bowed Stringed Instruments Methods, Music-18th century-Performance, Performance practice (Music)-History-18th century, Stringed instruments, Vibrato, Woodwind instruments, Woodwind instruments-Methods
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1056
2012-12-18T00:00:31Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Table of Contents/Front Matter
Music Practice
Front Matter
<p>Front matter and Table of Contents from the Spring 1991 (4/1) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1061
2012-12-17T23:52:35Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Performance Practice before 1600." Edited By Howard M. Brown and Stanley Sadie
McGee, Timothy J.
Music Practice
Book Review
Musical instruments-History, Ornamentation (Music), Performance practice (Music)-History-14th century, Performance practice (Music)-History-15th century-, Performance practice (Music)-History-16th century
<p>McGee discusses and reviews Brown and Sadie's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1063
2012-12-17T23:54:13Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Performance Practice: Music after 1600." By Howard M. Brown and Stanley Sadie
Rice, Albert R.
Music Practice
Book Review
Musical instruments-History, Performance practice (Music)-History-17th century, Performance practice (Music)-History-18th century, Performance practice (Music)-History-19th century
<p>Rice discusses and reviews Brown and Sadie's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1062
2012-12-17T23:53:23Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Performance Practice: Music after 1600." By Howard M. Brown and Stanley Sadie
Houle, George
Music Practice
Book Review
Musical instruments-History, Performance practice (Music)-History-17th century, Performance practice (Music)-History-18th century, Performance practice (Music)-History-19th century
<p>Houle discusses and reviews Brown and Sadie's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1065
2012-12-17T23:56:07Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Thorough-Bass Accompaniment according to Johann David Heinichen." Rev. ed. by George Buelow
Russom, Philip Wade
Music Practice
Book Review
Basso continuo, Basso continuo, Heinichen, Johann David, 1683-1729, Keyboard instrument, Keyboard instrument, Music-17th century-History and criticism, Music-18th century-History and criticism, Music-Interpretation (Phrasing, dynamics, etc.), Performance practice (Music)-History-17th century, Performance practice (Music)-History-18th century, Thorough-bass
<p>Russom discusses and reviews Buelow's 1986 edition.</p>
1
oai:scholarship.claremont.edu:ppr-1066
2012-12-17T23:57:24Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"New Essays on Performance Practice." By Frederick Neumann
Schwandt, Erich
Music Practice
Book Review
Musical instruments-History, Neumann Frederick, Performance practice (Music), Performance practice (Music)-History-17th century, Performance practice (Music)-History-18th century
<p>Schwandt discusses and reviews Neumann's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1055
2012-12-17T23:26:43Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Performance Practice Bibliography (1989)
Music Practice
Bibliography
<p>Ongoing bibliography of recent articles and books pertaining to performance practice.</p>
1
oai:scholarship.claremont.edu:ppr-1060
2012-12-17T23:51:41Z
publication:journals
publication:ppr
publication:library
publication:current_journals
The Emergence of the Modern Conductor
Jensen, Luke
Conducting
19th Century
Romantic Music
Music Practice
Article
Conducting-History, Conducting-History, Conducting-History, Conducting-History, Music Interpretation Phrasing Dynamics Etc. Philosophy and Aesthetics, Music-19th century, Performance practice (Music)-History-19th century
<p>During the first half of the 19th c., the duty of directing Italian opera was divided between the maestro al cembalo (sometimes known as the maestro concertatore) and the direttore d'orchestra, with greater responsibility falling on the former. The consolidation of these two roles into one led to the emergence of the modern conductor of Italian opera. The careers of Angelo Mariani and Emanuele Muzio illustrate this transition.</p>
1
oai:scholarship.claremont.edu:ppr-1064
2012-12-17T23:55:05Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Performance Practice and Technique in Marin Marais' 'Pièces de viole'." By Deborah A. Teplow
Traficante, Frank
Music Practice
Book Review
Marais, Marin, 1656-1728, Musical instruments-History, Viola da gamba, Viole
<p>Traficante discusses and reviews Teplow's 1986 book.</p>
1
oai:scholarship.claremont.edu:ppr-1069
2012-12-18T00:14:34Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Front Matter/Table of Contents
Music Practice
Front Matter
<p>Front matter and Table of Contents to the Fall 1991 (4/2) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1068
2012-12-18T00:01:41Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Contributors/End Matter
Music Practice
End Matter
<p>List of contributors from the Spring 1991 (4/1) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1070
2012-12-18T00:10:00Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Performance Practice and Its Critics - The Debate Goes On
Jackson, Roland
Music Practice
Editorial
<p>Jackson discusses the various views of the field of historical performance practice.</p>
1
oai:scholarship.claremont.edu:ppr-1072
2012-12-18T00:05:20Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Michel Blavet's Breathing Marks: A Rare Source for Musical Phrasing in Eighteenth-Century France
Peterman, Lewis Emanuel
French Music
Michel Blavet
Phrasing
Music Practice
Article
Baroque phrasing, Blavet, Michel, 1700-1768, France, Music France, Music-Interpretation (Phrasing, dynamics, etc.), Performance practice (Music)-History-18th century, Vocal technique
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1067
2012-12-17T23:58:21Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Beethoven on Beethoven: Playing His Piano His Way." By William S. Newman
Cooper, Barry
Music Practice
Book Review
Beethoven, Ludwig van, 1770-1827, Beethoven, Ludwig van, 1770-1827, Musical instruments-History, Piano, Piano technique, Piano-Performance
<p>Cooper discusses and reviews Newman's 1988 book.</p>
1
oai:scholarship.claremont.edu:ppr-1073
2012-12-18T00:06:12Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"'Doulce memoire': A Study of Performance Practices." By George Houle
Haar, James
Music Practice
Book Review
Houle, George, Music, Instrumental, Vocal music
<p>Haar discusses Houle's 1990 book.</p>
1
oai:scholarship.claremont.edu:ppr-1071
2012-12-18T00:04:28Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Ornamentation in Spanish Renaissance Vocal Music
Jacobs, Charles
Music Practice
Article
Embellishment (Music), Renaissance, Music 15th Century Performance, Music 16th Century Performance, Music-15th century-History and criticism, Music-16th century-History and criticism, Music-Spain, Music, Renaissance, Performance practice (Music)-History-15th century-, Performance practice (Music)-History-16th century, Renaissance, Spain, Vocal music
<p>Presents a survey of vocal ornamentation as descibed in Luis de Milan's El maestro (1535), Domenico Pietro Cerone's El melopeo y maestro (1613), and intervening 16th-c. Spanish publications. Discusses musical terms such as redoble, quiebro, glosa, trinar, and hacer garganta. Also includes a summary of the material provided in the eight book of El melopeo, with 54 pages of musical examples from Cerone's suggested diminutions.</p>
1
oai:scholarship.claremont.edu:ppr-1074
2012-12-18T00:07:15Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"The Early Mandolin: The Mandolino and the Neapolitan Mandoline." By James Tyler and Paul Sparks
Gill, Donald
Music Practice
Book Review
Mandolin, Mandolin, Musical instruments-History, Performance practice (Music)
<p>Gill discusses and reviews Tyler and Spark's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1075
2012-12-18T00:08:00Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Authenticity in Performance: Eighteenth-Century Case Studies." By Peter Le Huray
Houle, George
Music Practice
Book Review
Authenticity (Philosophy), Authenticity (Philosophy), Music-18th century-Performance, Performance practice (Music)-History-18th century
<p>Houle discusses and reviews Le Huray's 1990 book.</p>
1
oai:scholarship.claremont.edu:ppr-1076
2012-12-18T00:08:54Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Mozart's Symphonies: Context, Performance Practice, Reception." By Neal Zaslaw
Cole, Malcolm S.
Music Practice
Book Review
Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791, Mozart, Wolfgang Amadeus, 1756-1791-Criticism and interpretation, Music-18th century-History and criticism, Music-18th century-Performance, Performance practice (Music)-History-18th century
<p>Cole discusses and reviews Zaslaw's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1077
2012-12-18T00:11:35Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Communications
Music Practice
Correspondence
<p>Various "letters to the editor" editorials combatting and defending previous articles and claims published in PPR.</p>
1
oai:scholarship.claremont.edu:ppr-1078
2012-12-18T00:15:37Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Contributors/End Matter
Music Practice
End Matter
<p>List of contributors to the Fall 1991 (4/2) issue of Performance Practice Review.</p>
<p>End matter and advertisements from the Fall 1991 (4/2) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1080
2012-12-18T00:24:24Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Front Matter/Table of Contents
Music Practice
Front Matter
<p>Cover and Front Matter for the Spring 1992 (5/1) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1079
2012-12-18T00:12:37Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Performance Practice Bibliography 1990
Music Practice
Bibliography
<p>A bibliography concerning works published in the field of historical performance practice in 1990.</p>
1
oai:scholarship.claremont.edu:ppr-1081
2012-12-18T00:17:01Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Was the "Well-Tempered Clavier" Performable on a Fretted Clavichord?
Loucks, Richard
Well-Tempered Clavier
Johann Sebastian Bach
Fretted Clavichord
Music Practice
Article
Bach Johann Sebastian 1685 1750 Well Tempered Clavier, Bach Johann Sebastian 1685 1750 Wohltemperierte Klavier 1 T, Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Clavichord, Keyboard instrument, Keyboard instrument, Musical instruments-History
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1085
2012-12-18T00:27:01Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Corrections
Music Practice
Correction
<p>List of corrections to the Fall 1991 issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1083
2012-12-18T00:22:12Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Bach's Continuo Group: Players and Practices in His Vocal Works." By Laurence Dreyfus
Rogers, Patrick
Music Practice
Book Review
Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Basso continuo, Basso continuo, Musical instruments-History, Performance practice (Music)-History-18th century
<p>Rogers discusses and reviews Dreyfus' 1987 book.</p>
1
oai:scholarship.claremont.edu:ppr-1084
2012-12-18T00:23:11Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"The Contemporary Contrabass." By Bertram Turetzky
Slatford, Rodney
Music Practice
Book Review
Double bass-History, Performance practice (Music)-History-20th century
<p>Slatford discusses Turetzky's 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1086
2012-12-18T00:25:26Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Contributors/End Matter
Music Practice
End Matter
<p>List of contributors to the Spring 1992 (5/1) issue of Performance Practice Review.</p>
<p>End matter and advertisemets from the Spring 1992 (5/1) issue of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1087
2012-12-18T17:07:22Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Front Matter/Table of Contents
Music Practice
Front Matter
<p>Cover, Table of Contents, and Copyright Information.</p>
1
oai:scholarship.claremont.edu:ppr-1082
2012-12-18T00:21:25Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Singing in Latin, or, Pronunciation explor'd." By Harold Copeman
Leedy, Douglas
Music Practice
Book Review
Pronunciation, Vocal music, Vocal music-Interpretation (Phrasing, dynamics, etc.), Vocal technique
<p>Leedy discusses and reviews Copeman's 1990 book.</p>
1
oai:scholarship.claremont.edu:ppr-1088
2012-12-18T17:00:55Z
publication:journals
publication:ppr
publication:library
publication:current_journals
The Implications of Fingering Indications in Virginalist Sources: Some Thoughts for Further Study
Hunter, Desmond
English Virginalists
Virginal Performance
Ornamentation
Music Practice
Article
Harpsichord Instruction and Study Early Works To 1800, Harpsichord Music, Music 15th Century Performance, Music-15th century, Music-15th century-History and criticism, Ornamentation (Music)
<p>Focuses on the fingering of linear figuration and of grace notes. Various methods of fingering were undoubtedly explored by performers once they had mastered the basic principles illustrated in teaching pieces, and skeletal markings in the main repertoire are informative in this respect. Indications on grace notes often serve as qualifying symbols. Given that the virginalists' vocabulary of grace signs was limited, and that other means of qualification and clarification were employed, the evidence that fingering served as a useful expedient is persuasive.</p>
1
oai:scholarship.claremont.edu:ppr-1089
2012-12-18T17:01:48Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Portamento in Romantic Opera
Kauffman, Deborah
Portamento
Manuel Garcia
Alexis de Garaude
Ferdinand Sieber
Adelina Patti
Fernando de Lucia
Music Practice
Article
19th century, De Lucia, Fernando, 1860-1925, Embellishment (Vocal music), Embellishment Music, Garaudé, Alexis de, 1779-1852, Garaude´, Alexis de, 1779-1852. Me´thode comple`te de chant, Garcia, Manuel Patricio Rodrigues, 1805-1906, Garcia, Manuel, 1805-1906. Complete treatise on the art of singing, Opera, Ornamentation (Music), Patti, Adelina, 1843-1919, Portamento, Sieber, Ferdinand, 1822-1895, Singing methods
<p>"Portamento, the practice of sliding between pitches, has traditionally been viewed as a tasteless Romantic excess in vocal performance. At the height of the Romantic era, however, singing treatises by Manuel Patricio Rodriguez Garcia, Alexis de Garaude, and Ferdinand Sieber openly discuss different types of portamento and when it is most appropriately used. Recordings by singers trained in the 19th c. such as Adelina Patti and Fernando de Lucia show it to be widely used and highly effective. Portamento was thus not a performer's unwelcome additon, but an integral part of performance practice." (Bellman, Jonathan)</p>
1
oai:scholarship.claremont.edu:ppr-1090
2012-12-18T17:03:07Z
publication:journals
publication:ppr
publication:library
publication:current_journals
The Stanford Organ: A Synthesis of Views, The Stanford Eclectic Tunings
Bates, Robert
Lindley, Mark
Marshall, Kimberly
Charles Fisk
Organ Builders
Stanford Organ
Tuning
Music Practice
Article
Bach Johann Sebastian 1685 1750 Well Tempered Clavier, Fisk, Charles B., 1925-1983, Organ, Organ builders, Stanford University, Temperament, Tuning, Tuning Keyboard Instruments, Tuning-History
<p>Presents a compromise of previously published views regarding the tunings of the Fisk organ in Stanford's Memorial Church (Palo Alto, California). Proposes new meantone and well-tempered tunings, illustrated with examples from Renaissance and Baroque repertoire.</p>
1
oai:scholarship.claremont.edu:ppr-1094
2012-12-18T17:09:29Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Corrections
Music Practice
Correction
<p>A correction to the Fall 1991 issue of PPR.</p>
1
oai:scholarship.claremont.edu:ppr-1092
2012-12-18T17:08:19Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Contributors/End Matter
Music Practice
End Matter
<p>List of contributors to the Fall 1992 issue of Performance Practice Review.</p>
<p>End matter and advertisements from the Fall 1992 issue of PPR.</p>
1
oai:scholarship.claremont.edu:ppr-1091
2012-12-18T17:04:42Z
publication:journals
publication:ppr
publication:library
publication:current_journals
"Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach." By John Butt
Marshall, Kimberly
Music Practice
Book Review
Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Music Interpretation Phrasing Dynamics Etc. Philosophy and Aesthetics
<p>Marshall discusses and reviews Butt's1990 book.</p>
1
oai:scholarship.claremont.edu:ppr-1093
2012-12-18T17:06:21Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Performance Practice Bibliography (1991)
Music Practice
Bibliography
<p>A bibliography of performance practice study from the year 1991.</p>
1
oai:scholarship.claremont.edu:ppr-1095
2014-04-21T17:48:21Z
publication:journals
publication:ppr
publication:library
publication:current_journals
Was the "Well-Tempered Clavier" Performable on a Fretted Clivichord?
Loucks, Richard
Well-Tempered Clavier
Johann Sebastian Bach
Fretted Clavichord
Music Practice
Correction
Bach Johann Sebastian 1685 1750 Well Tempered Clavier, Bach Johann Sebastian 1685 1750 Wohltemperierte Klavier 1 T, Bach, Johann Sebastian, 1685-1750, Bach, Johann Sebastian, 1685-1750, Clavichord, Clavichord-Instruction and study, Keyboard instrument, Keyboard instrument, Keyboard instrument music-Interpretation (Phrasing, dynamics, etc.)-History-Sources, Musical instruments-History, Performance practice (Music)-History-18th century, Temperament, Tuning
<p>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.</p>
1
oai:scholarship.claremont.edu:ppr-1096
2012-12-18T17:18:14Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Front Matter/Table of Contents
Music Practice
Front Matter
<p>Front matter to the Spring 1993 (6/1) of Performance Practice Review.</p>
1
oai:scholarship.claremont.edu:ppr-1101
2012-12-18T17:16:03Z
publication:journals
publication:library
publication:ppr
publication:current_journals
"Continuo Realization in Handel's Vocal Music." By Patrick J. Rogers
Ledbetter, David
Music Practice
Book Review
Basso continuo, Basso continuo, Handel George Frideric 1685 1759 Criticism And Interpretation, Händel, Georg Friedrich, 1685-1759, Vocal music
<p>Ledbetter discusses and reviews Rogeres' 1989 book.</p>
1
oai:scholarship.claremont.edu:ppr-1100
2012-12-18T17:14:00Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Enrique Granados and Modern Piano Technique
Hess, Carol A.
Enrique Granados
Piano Technique
20th Century
Music Practice
Article
Granados Enrique 1867 1916, Performance practice (Music)-History-19th century, Performance practice (Music)-History-20th century, Piano, Piano technique, Piano-Performance
<p>Discusses parallels between Granados's approach to piano technique and that of Ludwig Deppe and Tobias Matthay, two pioneers in the reshaping of pianistic principles that took place at the turn of the century. Despite his relative isolation in Barcelona, Granados pursued strikingly modern ideas in piano playing, including principles of weight and relaxation, avoidance of finger-lifting, and preoccupation with fine gradations of tone. Primary sources include the composer's diary, treatise on pedaling, and the detailed memoirs of one of his students.</p>
1
oai:scholarship.claremont.edu:ppr-1097
2012-12-18T17:10:45Z
publication:journals
publication:library
publication:ppr
publication:current_journals
The Cimbalo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)
Stembridge, Christopher
Cimbalo Cromatico
Italian Keyboard Music
Keyboard construction
Music Practice
Article
Harpsichord-Construction, Italy, Keyboard instrument, Keyboard instrument, Music-Italy, Musical instruments-History, Musical instruments-Italy, Organ builders, Temperament
<p>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, Scipione Stella, Francesco Palmieri, Francesco Nigetti, and Jacques Buus. Documentation includes writings of Ercole Bottrigari, Giovanni Battista Boni, and, most important, Martino Pesenti, in the introduction to his op. 15.</p>
1
oai:scholarship.claremont.edu:ppr-1098
2012-12-18T17:11:49Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Vocal Ornaments in Durante's "Arie devote" (1608)
Sanders, Donald Clyde
Vocal Ornamentation
Ottavio Durante
"Arie devote"
Music Practice
Article
Durante, Ottavio, Music-17th century-History and criticism, Performance practice (Music)-History-17th century, Vocal music, Vocal music-Interpretation (Phrasing, dynamics, etc.), Vocal technique
<p>Ottavio Durante's Arie devote (Rome, 1608) is a collection of sacred monody in the style of Caccini's Le nuove musiche. The preface strongly affirms the use of the stile nuovo in church music in terms that reflect the spirit of the Counter-Reformation. Durante's preface also contains significant information on performance practice in early monody. Although most of his ideas are borrowed directly from Caccini, some points relate specifically to the application of the new style to liturgical music. Besides the ornaments found in Le nuove musiche, Durante describes the combination of a crescendo and a portamento on certain ascending semitones and advises the use of a crescimento on every dotted note.</p>
1
oai:scholarship.claremont.edu:ppr-1099
2012-12-18T17:12:55Z
publication:journals
publication:library
publication:ppr
publication:current_journals
Mendelssohn, Berlioz, and Wagner as Conductors: The Origins of the Ideal of "Fidelity to the Composer"
Bowen, Jose Antonio
Richard Wagner
Felix Mendelssohn
Hector Berlioz
Conducting
Music Practice
Article
19th century, Berlioz, Hector, 1803-1869, Conducting-History, Conducting-History, Conducting-History, Conducting-History, Mendelssohn-Bartholdy, Felix, 1809-1847, Music-Interpretation (Phrasing, dynamics, etc.), Wagner, Richard, 1813-1883
<p>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.</p>
1
2416192/simple-dublin-core/100//