Del i serien Publications of the Early Music Institute

Georg Muffat on Performance Practice

The Texts from Florilegium Primum, Florilegium Secundum, and Auserlesene Instrumentalmusik—a New Translation with Commentary

Häftad, Engelska, 2001

299 kr

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" . . . a fascinating overall impression of the day-to-day concerns and working environment of a professional musician of the late 17th century." —American RecorderThis volume presents Muffat's texts along with variants from his own editions in other languages. Wilson's highly readable supplementary materials make this a useful work for theorists, historians, and performers. The book is particularly enlightening on differences between French and German practice. Treats pitch, ornamentation, bowing, and more.

Produktinformation

Utgivningsdatum2001-11-09
Mått178 x 255 x 10 mm
Vikt300 g
FormatHäftad
SpråkEngelska
SeriePublications of the Early Music Institute
Antal sidor152
FörlagIndiana University Press
ISBN9780253213976
ÖversättareDavid K. Wilson

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Musikböcker inom Kultur

David K. Wilson is a Baroque violinist based in the San Francisco area. He has taught baroque violin at Indiana University and has performed extensively with period instrument chamber ensembles and orchestras in the United States and in Germany. Professor Thomas Binkley was a noted lutenist and director of early music performances. He founded the early Music Institute at the Indiana University School of Music.Dr. Ingeborg Harer is Assistant Professor at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr. Ernest Hoetzl is Assistant Professor of Pedagogy at the Universitat fur Musik und darstellende Kunst in Graz, Austria.Dr Yvonne Luisi-Weichsel teaches in the pedagogy department of the Universitat fur Musik und darstellende Kunst in Graz, Austria.

Preliminary Table of Contents:I. Introduction1. Foreword2. Biographical Sketch of Georg Muffat3. Description of the MaterialsII. Translations4. Florilegium Primum, 16955. Florilegium Secoundum, 16906. Auserlesene Instrumentalmusik, 1701III. Commentary7. Muffat's Intentions8. Instruments9. Tuning: Pitch, Temperament, Intonation10. Technique: Bowing Rules, Ornamentation, General Conventions11. German Performance Practice12. Performance Settings13. ConclusionBibliography