Classical & Romantic Performing Practice 1750-1900

4,58 valoración promedio
( 12 valoraciones por GoodReads )
 
9780198161653: Classical & Romantic Performing Practice 1750-1900
Review:

this useful and important new book. ( Peter Williams, Musical Times Dec.2000.)

The topics seem endless, and the author deserves our gratitude for gathering them together, and for devoting all the energy required for such a book. ( Peter Williams, Musical Times Dec. 2000.)

the fact that the book focuses on notation will make it permanently useful, something to consult. ( Peter Williams, Musical Times Dec. 2000.)

a work of the greatest scholarship and utility ... the sheer erudition is noteworthy. J. Murray, Choice, Vol.38, No.1.

it may be consulted profitably by any musician or aspirant who performs the Classic or Romantic repertoire. J. Murray, Choice, Vol.38, No.1.

This book will revolutionise the study of music. ( David Owen Norris, BBC Music Magazine, Oct 2000.)

His wicked eye for a quotation reveals at every turn that he himself is a performer. ( David Owen Norris, BBC Music Magazine, Oct 2000.)

Sparks of knowledge fly up in all directions. ( David Owen Norris, BBC Music Magazine, Oct 2000.)

Audiences are in for some good times. ( David Owen Norris, BBC Music Magazine, Oct 2000.)

Despite its wealth of music examples (many in facsimile), Brown's book presents solid reading matter ... There is a wealth of information here ... Brown ... sensibly balances the views of theorists and teachers ... with what can be deduced from actual scores ... his book offers a wealth of advice and ideas, ideas which should be thought of as creative and enabling, not restrictive. Period style is not, as it is still so often parodied, a kill-joy matter of not doing something, but of finding different ways of bringing music to life. ( Early Music Review, 58, March 2000)

The infinitely complex and fascinating relationship between notation and performance... assumes centre stage... Brown draws on an astonishing range of sources in his discussions of accentuation, articulation and phrasing (including string bowing), tempo and its modification, ornaments, vibrato, portamento and a host of other areas... a vast range of information for the performer's consideration while, at the same time, calling for a certain tenacity from the reader... Brown's grasp of primary sources is wide-ranging and scholarly, lavishly illustrated with musical examples, often of unfamiliar repertory. He uncovers many questions and possible answers, which can hardly fail to stimulate the thinking performer... I for one shall be underpinning future practical endeavours with constant reference to Brown's pioneering volume, a substantial achievement which will inevitably repay close and repeated study. ( Colin Lawson, Gramophone Early Music Spring 2000.)

Review:


"This book will revolutionize the study of music...The book weaves strong patterns from the conflicting habits of different places, people and periods. It doesn't tell you exactly what to do, but inspires a confidence that your own decisions, thus informed, will work."--BBC Music Magazine


"Brown has produced a work of the greatest scholarship and utility....Recommended--required!--for all libraries with music collections serving upper-division undergraduates and above."--Choice


"His substantial book presents many new findings and demonstrates new approaches. Brown has contributed greatly to our understanding of period technique, especially for string instruments" --Notes


"His book offers a wealth of advice and ideas, ideas which should be thought of as creative and enabling, not restrictive."--Early Music Review


"Brown's grasp of primary sources is wide-ranging and scholarly, lavishly illustrated with musical examples, often of unfamiliar repertory. He uncovers many questions and possible answers, which can hardly fail to stimulate the thinking performer."--Gramophone Early Music


"The fact that the book focuses on notation will make it permanently useful, something to consult."--The Musical Times


"Sobre este título" puede pertenecer a otra edición de este libro.

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Brown, Clive
Editorial: Clarendon Press (1999)
ISBN 10: 0198161654 ISBN 13: 9780198161653
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Descripción Clarendon Press, 1999. HRD. Estado de conservación: New. New Book.Shipped from US within 10 to 14 business days.THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. Nº de ref. de la librería IP-9780198161653

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Brown, Clive
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Descripción Clarendon Press, 1999. HRD. Estado de conservación: New. New Book. Delivered from our US warehouse in 10 to 14 business days. THIS BOOK IS PRINTED ON DEMAND.Established seller since 2000. Nº de ref. de la librería IP-9780198161653

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Brown, Clive
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Descripción Oxford University Press, United Kingdom, 2000. Hardback. Estado de conservación: New. 239 x 163 mm. Language: English . Brand New Book ***** Print on Demand *****. The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers intentions have remained uncertain. Clive Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music was more radically different from ours than is generally assumed. This is an essential book for all performers and students of Classical and Romantic music. Nº de ref. de la librería APC9780198161653

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Brown, Clive
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Descripción Oxford University Press, United Kingdom, 2000. Hardback. Estado de conservación: New. 239 x 163 mm. Language: English . Brand New Book ***** Print on Demand *****.The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers intentions have remained uncertain. Clive Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music was more radically different from ours than is generally assumed. This is an essential book for all performers and students of Classical and Romantic music. Nº de ref. de la librería APC9780198161653

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Brown, Clive
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Descripción Oxford University Press, 2000. Hardcover. Estado de conservación: New. book. Nº de ref. de la librería 0198161654

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Brown, Clive
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Descripción OUP Oxford, 2000. Hardcover. Estado de conservación: Brand New. 1st edition. 680 pages. 6.50x9.50x1.50 inches. In Stock. Nº de ref. de la librería zk0198161654

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Brown, Clive
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Descripción OUP Oxford. Hardcover. Estado de conservación: New. This item is printed on demand. Hardcover. 680 pages. The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed. This item ships from La Vergne,TN. Hardcover. Nº de ref. de la librería 9780198161653

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