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eBay-Artikelnr.:385872595915
Artikelmerkmale
- Artikelzustand
- Book Title
- Performance Practices in Classic Piano Music : Their Principles a
- ISBN
- 9780253206800
- Subject Area
- Music
- Publication Name
- Performance Practices in Classic Piano Music : Their Principles and Applications
- Publisher
- Indiana University Press
- Item Length
- 9.6 in
- Subject
- Musical Instruments / Piano & Keyboard
- Publication Year
- 1988
- Series
- Music Scholarship and Performance Ser.
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 1.3 in
- Item Weight
- 33.6 Oz
- Item Width
- 6.8 in
- Number of Pages
- 544 Pages
Über dieses Produkt
Product Identifiers
Publisher
Indiana University Press
ISBN-10
0253206804
ISBN-13
9780253206800
eBay Product ID (ePID)
63419
Product Key Features
Number of Pages
544 Pages
Language
English
Publication Name
Performance Practices in Classic Piano Music : Their Principles and Applications
Publication Year
1988
Subject
Musical Instruments / Piano & Keyboard
Type
Textbook
Subject Area
Music
Series
Music Scholarship and Performance Ser.
Format
Trade Paperback
Dimensions
Item Height
1.3 in
Item Weight
33.6 Oz
Item Length
9.6 in
Item Width
6.8 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
87-045437
Dewey Edition
23
Grade From
College Graduate Student
Illustrated
Yes
Dewey Decimal
786.3/041
Table Of Content
Foreword by Malcolm Bilson Preface: About Performance Practices Acknowledgments Sources of Figures Introduction: Using this Book Abbreviations I. Background for the Study II. The Fortepiano circa 1780-1820 III. Dynamics and Accentuation IV. Use of the Pedals V. Articulation and Touch VI. Historical Technique and Fingering VII. Ornaments VIII. "Mixed Meters" and Dotted Rhythms IX. Choice of Tempo X. Flexibility of Rhythm and Tempo XI. Performing Beethoven's Bagatelle Op. 126, No. 5 Notes Selected Bibliography Index
Synopsis
Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility. Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi. " . . . is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period." ?American Music Teacher "Rosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses." ?Journal of Musicological Research "The extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice." ?Early Keyboard Journal "Her attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated." ?The Musical Times "Its importance to thoughtful musicians cannot be overstated." ?Choice " . . . thoroughly musicological." ?Performance Practice Review " . . . indispensable . . . " ?New York Times, Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility. Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi. " . . . is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period." --American Music Teacher "Rosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses." --Journal of Musicological Research "The extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice." --Early Keyboard Journal "Her attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated." --The Musical Times "Its importance to thoughtful musicians cannot be overstated." --Choice " . . . thoroughly musicological." --Performance Practice Review " . . . indispensable . . . " --New York Times, Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility. Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi. "... is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period." --American Music Teacher "Rosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses." --Journal of Musicological Research "The extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice." --Early Keyboard Journal "Her attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated." --The Musical Times "Its importance to thoughtful musicians cannot be overstated." --Choice "... thoroughly musicological." --Performance Practice Review "... indispensable... " --New York Times
LC Classification Number
ML705.R67 1991
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- 9***l (1)- Bewertung vom Käufer.Letzter MonatBestätigter KaufI expected the textbook pictured. However, the picture is wrong but the written description is correct (my bad for not reading it). I returned it and got my refund quickly without issues. I took a picture of the workbook I received which was in good condition.
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