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eBook The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period (Eastman Studies in Music) download

by Stephanie D. Vial

eBook The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period (Eastman Studies in Music) download ISBN: 1580460348
Author: Stephanie D. Vial
Publisher: BOYE6; 1st edition (May 18, 2008)
Language: English
Pages: 378
ePub: 1864 kb
Fb2: 1668 kb
Rating: 4.5
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Category: Art and Photo
Subcategory: Music

EIGHTEENTH-CENTURY MUSIC (Thomas Irvine) Student of all music in the Classical style should find useful (Vial's) . MUSICAL TIMES (Peter Williams) Provides the reader with insights into how eighteenth-century artists may have approached their performances.

EIGHTEENTH-CENTURY MUSIC (Thomas Irvine) Student of all music in the Classical style should find useful (Vial's) explanations on how to decipher.

Eastman Studies in Music). by. Stephanie D. Vial. Other books in the series. Eastman Studies in Music (1 - 10 of 53 books). There are, of course, no commas, periods, or question marks in music of the Baroque and Classic eras. Lists with This Book. This book is not yet featured on Listopia.

Such injunctions dominate eighteenth-century (and nineteenth-century) discourse on the Art of Punctuation

Series: Eastman Studies in Music. Such injunctions dominate eighteenth-century (and nineteenth-century) discourse on the Art of Punctuation. The general consensus among eighteenth-century music theorists, as expressed above by Koch, is that the basics of musical punctuation are to be derived from the most recognizable and distinctly defined forms of the day, what we are describing as the verse-like structures of music.

There are, of course, no commas, periods, or question marks in music of the Baroque and Classic eras. Nonetheless, the concept of punctuating music into longer and shorter units of expression was richly explored by many of the era's leading composers, theorists, and performers. The Art of Musical Phrasing in the Eighteenth Century gathers and discusses, for the first time, an extensive collection of quotations and musical illustrations relevant to phrase articulation and written and unwritten rests.

in the Eighteenth Century : Punctuating the Classical 'Period' .

The Art of Musical Phrasing in the Eighteenth Century : Punctuating the Classical 'Period'. Part of the Eastman Studies in Music Series). by Stephanie D. Nonetheless, the concept of "punctuating" music into longer and shorter units of expression was richly explored by many of the era's leading composers, theorists, and performers.

On a larger scale, The Art of Musical Phrasing demonstrates the role of punctuation within the history of rhetoric during the . Eastman Studies in Music. 110 Line Drawings, Black and White.

On a larger scale, The Art of Musical Phrasing demonstrates the role of punctuation within the history of rhetoric during the Age of Enlightenment. Modern performers, argues Vial, have the challenge and responsibility of understanding and conveying the nuances, inflections, and rhythmic gestures deeply embedded in eighteenth-century musical tation.

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This book analyses the sonata. Both building on and departing from earlier methods of analysis, it provides an in-depth examination of the sonata genre. After establishing the normative features of the sonata, the authors examine how individual sonatas from Beethoven, Haydn, and Mozart both adhere to and deviate from those standards to a variety of effects. Co-authored by a music theorist and a musicologist, the book provides a foundational theory and offers insights on individual works from the Western canon.

Punctuating the Classical Period.

There are, of course, no commas, periods, or question marks in music of the Baroque and Classic eras. Nonetheless, the concept of "punctuating" music into longer and shorter units of expression was richly explored by many of the era's leading composers, theorists, and performers. The Art of Musical Phrasing in the Eighteenth Century gathers and discusses, for the first time, an extensive collection of quotations and musical illustrations relevant to phrase articulation and written and unwritten rests. Among the notable authors cited and discussed are Muffat, Telemann, C. P. E. Bach, Mattheson, Marpurg, Tartini, and Mozart's father Leopold (author of the most important eighteenth-century treatise on string playing). On a larger scale, The Art of Musical Phrasing demonstrates the role of punctuation within the history of rhetoric during the Age of Enlightenment. From this, the performer of today can gain a greater appreciation for both the strengths and shortcomings of the analogy that writers of the day drew between punctuation in written language and in music. Modern performers, argues Vial, have the challenge and responsibility of understanding and conveying the nuances, inflections, and rhythmic gestures deeply embedded in eighteenth-century musical notation. The Art of Musical Phrasing, the fruit of Vial's rich experience as a cellist performing on both period and modern instruments, lays out long-needed practical suggestions for achieving this goal. Stephanie D. Vial performs and records widely as a cellist and has taught at the University of North Carolina at Chapel Hill and Duke University.