Severnonemška baročna glasba za instrumente s tipkami odpira vrsto vprašanj, še zlasti glede neskladij med skladbami in orglami tistega časa. Besedilo kritično predstavlja različne raziskovalne ...pristope in njih rezultate.
Študij haptičnih povratnih informacij v zvezi z različnimi zgodovinskimi instrumenti s tipkami postavlja vprašanje, zakaj je C. P. E. Bach med drugim spodbujal praktične glasbenike, da se posvetijo ...fenomenologiji mnogovrstnih instrumentov s tipkami in da se tako na vseh ustrezno verzirajo.
Yonit Lea Kosovske surveys early music and writing about keyboard performance with the aim of facilitating the development of an expressive tone in the modern player. Reviewing the work of the ...pedagogues and performers of the late Renaissance through the late Baroque, she gives special emphasis to la douceur du toucher or a gentle touch. Other topics addressed include posture, early pedagogy, exercises, articulation, and fingering patterns. Illustrated with musical examples as well as photos of the author at the keyboard, Historical Harpsichord Technique can be used for individual or group lessons and for amateurs and professionals.
Representing a historical cross-section of performance and training in Western music since the seventeenth century, Five Lives in Music brings to light the private and performance lives of five ...remarkable women musicians and composers. Elegantly guiding readers through the Thirty Years War in central Europe, elite courts in Germany, urban salons in Paris, Nazi control of Germany and Austria, and American musical life today, as well as personal experiences of marriage, motherhood, and widowhood, Cecelia Hopkins Porter provides valuable insights into the culture in which each woman was active._x000B__x000B_Porter begins with the Duchess Sophie-Elisabeth of Braunschweig-Lueneberg, a harpsichordist who also presided over seventeenth-century North German court music as an impresario. At the forefront of French Baroque composition, composer Elisabeth-Claude Jacquet de La Guerre bridged a widening cultural gap between the Versailles nobility and the urban bourgeoisie of Paris. A century later, Josephine Lang, a prodigiously talented pianist and dedicated composer, participated at various times in the German Romantic world of lieder through her important arts salon. Lastly, the book profiles two exceptional women of the twentieth century: Baroness Maria Bach, a composer and pianist of twentieth-century Vienna's upper bourgeoisie and its brilliant musical milieu in the era of Gustav Mahler, Richard Strauss, Arnold Schoenberg, and Erich Korngold; and Ann Schein, a brilliant and dauntless American piano prodigy whose career, ongoing today though only partially recognized, led her to study with the legendary virtuosos Arthur Rubinstein and Myra Hess._x000B__x000B_Mining autograph manuscripts, unpublished letters, press reviews, interviews, and music archives in the United States and Europe, Porter probes each musician's social and economic status, her education and musical training, the cultural expectations, traditions, and restrictions of each woman's society, and other factors. Throughout the lively and focused portraits of these five women, Porter finds common threads, both personal and contextual, that extend to a larger discussion of the lives and careers of female composers and performers throughout centuries of music history.
After its eclipse by the piano, the harpsichord survived primarily as a museum curiosity until the end of the nineteenth century. But early in the new century the player and builder Arnold Dolmetsch ...found a ready market for his harpsichords, clavichords, and virginals and an eager audience for his chamber concerts featuring these new/old instruments. In 1923 the incomparable Wanda Landowska made her American debut. This tiny woman, almost a cult figure, was to exert a powerful influence on the course of harpsichord playing for the next half century. Among her students were Putnam Aldrich, the harpsichord duo of Philip Manuel and Gavin Williamson, Alice Ehlers, and, for a short time, Ralph Kirkpatrick. Landowska's instrument was the heavy, durable Pleyel. As the harpsichord and authentic instrument revival progressed, American builders started to produce lighter instruments, and in recent years do-it-yourself builders have been buying harpsichord kits. Sylvia Marlowe is famous for playing jazz on the harpsichord, and in a reversal of past practice, harpsichordists are now borrowing the music of the piano and making it their own. The harpsichord has come a long way from the days when reviewers patronizingly described it as "quaint," "tinkling," or sounding like "a regiment of mice." It can be powerful and tender, dramatic and delicate, and in the minds of many, the only medium for the performance of early music.
First published in Rome in 1555, Nicola Vicentino's treatise was one of the most influential music theory texts of the sixteenth century. This translation by Maria Rika Maniates is the first ...English-language edition of Vicentino's important work.Unlike most early theorists, Vicentino did not simply summarize the practice of his time. His aim was to change how composers wrote and how musicians thought about music.His best-known contribution is the adaptation of the ancient Greek chromatic and enharmonic genera to modern polyphonic practice. But he also expressed the avant garde's position on the relation between music and the subject matter and feelings of a secular or sacred text. He challenged the view that part-writing had always to conform to the rules of counterpoint, asserting that license was permissible in order to express the feelings of a verbal text. In this he anticipated the manifestos of Vincenzo Galilei and Claudio Monteverdi. Maniates' introduction discusses Vicentino's life and work, the sources of his ideas in earlier theoretical literature, and the contemporary humanists from whom he may have learned..
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