Peter Walls is Emeritus Professor of Music at Victoria University of Wellington. He is the author of Music in the English Courtly Masque (Oxford: the Clarendon Press, 1996), History, Imagination and the Performance of Music (Woodbridge: Boydell, 2003) and numerous articles on historical performance practice. A baroque violinist and conductor, he is currently Chief Executive of the New Zealand Symphony Orchestra.

• Contents: Introduction; Part I Prologue: On the execution of music, and principally of ancient music, Camille Saint-Saëns. Part II The Right Instrument: Reconstructing the harpsichord, Frank Hubbard; The harpsichord culture in Bach's environs, John Koster; Bach and the flute: the players, the instruments, the music, Ardal Powell with David Lasocki; New light on the old bow: part 1, Robert E. Seletsky; New light on the old bow: part 2, Robert E. Seletsky; Falsetto and the French: 'une toute autre marche', Andrew Parrott. Part III Pitch Tuning and Temperament: Bach's keyboard temperament: internal evidence from The Well-tempered Clavier, John Barnes; Beyond temperament: non-keyboard intonation in the 17th and 18th centuries, Bruce Haynes. Part IV Technique and Style: Handelian keyboard fingerings, Mark Lindley; Violin fingering in the 18th century, Peter Walls; Tu ru or not Tu ru: paired syllables and unequal tonguing patterns on woodwinds in the 17th and 18th centuries, Bruce Haynes; 'La voce è grata assai, ma...': Monteverdi on singing, Richard Wistreich. Part V Vibrato: The vibrato controversy, Frederick Neumann; The censored publications of The Art of Playing on the Violin, or Geminiani unshaken, Roger Hickman. Part VI What Works? (Text, Subtext, Surtext): Text, context and the early music editor, Philip Brett; Sous les doits de Chambonniere, David Fuller; Violinistic virtuosity in the 17th century: Italian supremacy or Austro-German hegemony?, Peter Allsop; Ornaments for Corelli's Violin Sonatas, op. 5, Neal Zaslaw. Part VII Tempo and Rhythmic Alteration: Déjà vu all over again? Rhythmic alteration vs. Neumann's musical protectionism, Stephen E. Hefling; Alteration in Handel: a fresh approach, John Byrt; Bach's French overtures and the politics of overdotting, Matthew Dirst. Part VIII Scoring: 'Col nobilissimo esercitio della vivuola': Monteverdi's string writing, Peter Holman; Professional women musicians in early 18th-century Württemberg, Samantha Owens; P

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Peter Walls is Emeritus Professor of Music at Victoria University of Wellington. He is the author of Music in the English Courtly Masque (Oxford: the Clarendon Press, 1996), History, Imagination and the Performance of Music (Woodbridge: Boydell, 2003) and numerous articles on historical performance practice. A baroque violinist and conductor, he is currently Chief Executive of the New Zealand Symphony Orchestra.

• Contents: Introduction; Part I Prologue: On the execution of music, and principally of ancient music, Camille Saint-Saëns. Part II The Right Instrument: Reconstructing the harpsichord, Frank Hubbard; The harpsichord culture in Bach's environs, John Koster; Bach and the flute: the players, the instruments, the music, Ardal Powell with David Lasocki; New light on the old bow: part 1, Robert E. Seletsky; New light on the old bow: part 2, Robert E. Seletsky; Falsetto and the French: 'une toute autre marche', Andrew Parrott. Part III Pitch Tuning and Temperament: Bach's keyboard temperament: internal evidence from The Well-tempered Clavier, John Barnes; Beyond temperament: non-keyboard intonation in the 17th and 18th centuries, Bruce Haynes. Part IV Technique and Style: Handelian keyboard fingerings, Mark Lindley; Violin fingering in the 18th century, Peter Walls; Tu ru or not Tu ru: paired syllables and unequal tonguing patterns on woodwinds in the 17th and 18th centuries, Bruce Haynes; 'La voce è grata assai, ma...': Monteverdi on singing, Richard Wistreich. Part V Vibrato: The vibrato controversy, Frederick Neumann; The censored publications of The Art of Playing on the Violin, or Geminiani unshaken, Roger Hickman. Part VI What Works? (Text, Subtext, Surtext): Text, context and the early music editor, Philip Brett; Sous les doits de Chambonniere, David Fuller; Violinistic virtuosity in the 17th century: Italian supremacy or Austro-German hegemony?, Peter Allsop; Ornaments for Corelli's Violin Sonatas, op. 5, Neal Zaslaw. Part VII Tempo and Rhythmic Alteration: Déjà vu all over again? Rhythmic alteration vs. Neumann's musical protectionism, Stephen E. Hefling; Alteration in Handel: a fresh approach, John Byrt; Bach's French overtures and the politics of overdotting, Matthew Dirst. Part VIII Scoring: 'Col nobilissimo esercitio della vivuola': Monteverdi's string writing, Peter Holman; Professional women musicians in early 18th-century Württemberg, Samantha Owens; P

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Peter Walls is Emeritus Professor of Music at Victoria University of Wellington. He is the author of Music in the English Courtly Masque (Oxford: the Clarendon Press, 1996), History, Imagination and the Performance of Music (Woodbridge: Boydell, 2003) and numerous articles on historical performance practice. A baroque violinist and conductor, he is currently Chief Executive of the New Zealand Symphony Orchestra.

• Contents: Introduction; Part I Prologue: On the execution of music, and principally of ancient music, Camille Saint-Saëns. Part II The Right Instrument: Reconstructing the harpsichord, Frank Hubbard; The harpsichord culture in Bach's environs, John Koster; Bach and the flute: the players, the instruments, the music, Ardal Powell with David Lasocki; New light on the old bow: part 1, Robert E. Seletsky; New light on the old bow: part 2, Robert E. Seletsky; Falsetto and the French: 'une toute autre marche', Andrew Parrott. Part III Pitch Tuning and Temperament: Bach's keyboard temperament: internal evidence from The Well-tempered Clavier, John Barnes; Beyond temperament: non-keyboard intonation in the 17th and 18th centuries, Bruce Haynes. Part IV Technique and Style: Handelian keyboard fingerings, Mark Lindley; Violin fingering in the 18th century, Peter Walls; Tu ru or not Tu ru: paired syllables and unequal tonguing patterns on woodwinds in the 17th and 18th centuries, Bruce Haynes; 'La voce è grata assai, ma...': Monteverdi on singing, Richard Wistreich. Part V Vibrato: The vibrato controversy, Frederick Neumann; The censored publications of The Art of Playing on the Violin, or Geminiani unshaken, Roger Hickman. Part VI What Works? (Text, Subtext, Surtext): Text, context and the early music editor, Philip Brett; Sous les doits de Chambonniere, David Fuller; Violinistic virtuosity in the 17th century: Italian supremacy or Austro-German hegemony?, Peter Allsop; Ornaments for Corelli's Violin Sonatas, op. 5, Neal Zaslaw. Part VII Tempo and Rhythmic Alteration: Déjà vu all over again? Rhythmic alteration vs. Neumann's musical protectionism, Stephen E. Hefling; Alteration in Handel: a fresh approach, John Byrt; Bach's French overtures and the politics of overdotting, Matthew Dirst. Part VIII Scoring: 'Col nobilissimo esercitio della vivuola': Monteverdi's string writing, Peter Holman; Professional women musicians in early 18th-century Württemberg, Samantha Owens; P

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