6 edition of Georg Muffat on Performance Practice found in the catalog.
September 15, 2001 by Indiana University Press .
Written in English
|Contributions||David K. Wilson (Editor)|
|The Physical Object|
|Number of Pages||122|
Muffat was, as Johann Jakob Froberger before him, and Handel after him, a cosmopolitan composer who played an important role in the exchanges between European musical traditions. At this point Wilson entered the picture and translated this collation into English. The Commentary 3. All Rights Reserved.
Part III addresses issues and conventions of Georg Muffat on Performance Practice book such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and "special effects" such as tremolo and harmonics. In so doing, it draws upon analytical work on Brahms in order to elucidate how performance strategies might articulate various underlying aspects of the music. The dual-column format adopted by Wilson translation on the left, variants on the right means that alternative readings are often placed above or below the line in the main text to which they apply. Special emphasis is placed upon the period towhen the viol, violin, and violoncello grew to prominence as solo instruments in France. Despite being a translation by committee, as it were, the book seems no worse for it, and Wilson has produced a readable and generally accurate text, though one not without its problems. Less than satisfactory in appearance, however, are the musical examples, which were typeset using s-era software that offers substandard resolution.
There are an especially large number of variants on page 29 that are placed far from their contexts, or are otherwise difficult to insert into the main text. Part III addresses issues and conventions of interpretation such as articulation, tempo and character, inequality, ornamentation, the basse continue, pitch, temperament, and "special effects" such as tremolo and harmonics. Finally, bowing symbols are missing from Examples ZZ and Aa 50and no fewer than fourteen trill symbols are missing from cadential formulas 2—4 57—8. This makes a certain amount of sense, though I suspect that in a great many German violinists were already experienced in accompanying dancers. Part II summarizes the present state of research on bowed string instruments violin, viola, cello, contrebasse, pardessus de viole, and viol in France, including such topics as the size and distribution of parts in ensembles and the role of the contrebasse.
Folk tales of the Borders
Life and labours of John Ashworth
[Incomplete letter to] Dear Anne
Living Conditions in Developing Countries in the Mid-1980s
minerals industry of the SADCC region
The Lois group alphabetically listed.
North Carolina pesticide laws and regulations
Toward a methodology of naturalistic inquiry in educational evaluation.
Silver and gold
Despite being a translation by committee, as it were, the book seems no worse for it, and Wilson has produced a readable and generally accurate text, though one not without its problems. Special emphasis is placed upon the period towhen the viol, violin, and violoncello grew to prominence as solo instruments in France.
Georg Muffat on Performance Practice book the time Georg Muffat on Performance Practice book Florilegia were published, Muffat was nearly thirty years removed from his experiences in Paris, and the suites of the Florilegium secundum, at least, were all composed during the s.
Later, he studied law in Ingolstadtafterwards settling in Vienna. The dual-column format adopted by Wilson translation on the left, variants on the right means that alternative readings are often placed above or below the line in the main text to which they apply. In most cases, I was able to sort out the intended placement for the words or phrases in question.
As each of these chapters quotes extensively from the translations in one case even reprinting several musical examplesit might have been more efficient to incorporate the commentary as footnotes in the translated texts.
Georg Muffat on Performance Practice book letters and the memoirs of those who knew him in particular have been widely sourced. Libraries may archive issues of JSCM in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged.
It considers in detail issues of Brahms's preferences in terms of instruments, instrumental approach, the meanings of fundamental notational symbols such as the slur, orchestral size, tempo and tempo flexibility, Brahms's preferred performers, the use of the style hongroise in the appropriate works and wider questions of exoticism and orientalism as pertain to performance, Brahms's use of phrasing and metrical displacement and writing for the voice.
Part I deals with the historical background to the debate between the French and Italian styles and the features that defined French style. Introduction 1. The engagement of Brahms with earlier music, often used as models for his own work, and the implications of such engagement for performance, is a recurrent concern throughout the book.
At this point Wilson entered the picture and translated this collation into English. There are an especially large number of variants on page 29 that are placed far from their contexts, or are otherwise difficult to insert into the main text.
Wilson also points out that in successive down-bows on beats three and one of consecutive measures in triple meterone need not retake the bow for the second stroke, but instead begin where the first stroke left off, that is, in the middle of the bow.
Was this an oversight by Indiana University Press or intended as an enticement to mainstream string players? The translation is adequate overall, even elegant at times, and the commentaries are worthwhile, though not essential, reading. Following Inke Stampfl, he concludes that Muffat envisioned a French-style basse de violon tuned B'-flat, F, c, g rather than a cello or a German violone at 8-foot pitch; according to the composer, the violone at foot pitch was to be used only with a large number of players.
ISSN: X Items appearing in JSCM may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the Editor-in-Chief of JSCM.
Currently Associate Professor of Music History at Temple University, he is also professionally active as a performer on historical flutes.
The diversity of compositional styles among this group of composers, and the virtuosity they incorporated in their music, generate a broad field for discussing issues of performance practice and offer opportunities to explore controversial themes within the context of specific pieces.
It involves new findings in terms of sources relating to Brahms's use of the slur, his preferences regarding the orchestra, his own activities as a performer on the basis of contemporary reviewsand his relationship with particular conductors.- Buy Georg Muffat on Performance Practice: The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik-A New Translation (Publications of the Early Music Institute) book online at best prices in India on Read Georg Muffat on Performance Practice: The Texts from Florilegium Primum, Florilegium Secundum, and Reviews: 4.
Georg Muffat on Performance Practice book. Read reviews from world’s largest community for readers. This volume presents Muffat's texts along with varian 5/5(1).
Wilson is the author of The Southern Strategy ( avg rating, 21 ratings, 1 review, published ) and Georg Muffat on Performance Practice (4/5.Georg Muffat on Performance Practice (Paperback) The Texts from Florilegium Primum, Florilegium Pdf, and Auserlesene Instrumentalmusik--A New Translation wi (Publications of the Early Music Institute) By Georg Muffat, David K.
Wilson (Translator) Indiana University Press,pp. Publication Date: November 9, By Georg Muffat Georg Muffat on Performance Practice: The Texts from Florilegium Primum, Florilegium Secundum, and A (2nd) [Paperback] [George Muffat | David K.
Wilson | David Wilson] on *FREE* shipping on qualifying offers. New.Composed ebook Georg Muffat, Wolfgang Ebner. Edited by Siegbert Rampe. This edition: urtext edition.
Paperback. Georg Muffat/ Wolfgang Ebner. Complete works for Keyboard (Organ) 1 \| BARENREITER URTEXT. Volume 1. Performance score, anthology.
Baerenreiter Verlag #BA Published by Baerenreiter Verlag ().