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This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music. The Harvard Dictionary of Music has long been admired for its wide range as well as its reliability. This treasure trove includes entries on all the styles and forms in Western music; comprehensive articles on the music of Africa, Asia, Latin America, and the Near East; descriptions of instruments enriched by historical background; and articles that reflect today’s beat, including popular music, jazz, and rock. Throughout this Fourth Edition, existing articles have been fine-tuned and new entries added so that the dictionary fully reflects current music scholarship and recent developments in musical culture. Encyclopedia-length articles by notable experts alternate with short entries for quick reference, including definitions and identifications of works and instruments. More than 220 drawings and 250 musical examples enhance the text. This is an invaluable book that no music lover can afford to be without.
A collection of essays, which question many orthodox beliefs of the performance practice tradition and take a critical look at the early music movement. Coverage includes Haydn's ornaments, Mozart interpretation, Handel's overtures and binary and ternary rhythms.
Over the last dozen years, the writings of Richard Taruskin have transformed the debate about "early music" and "authenticity." Text and Act collects for the first time the most important of Taruskin's essays and reviews from this period, many of which now classics in the field. Taking a wide-ranging cultural view of the phenomenon, he shows that the movement, far from reviving ancient traditions, in fact represents the only truly modern style of performance being offered today. He goes on to contend that the movement is therefore far more valuable and even authentic than the historical verisimilitude for which it ostensibly strives could ever be. These essays cast fresh light on many aspects of contemporary music-making and music-thinking, mixing lighthearted debunking with impassioned argumentation. Taruskin ranges from theoretical speculation to practical criticism, and covers a repertory spanning from Bach to Stravinsky. Including a newly written introduction, Text and Act collects the very best of one of our most incisive musical thinkers.
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Analysing over 100 recordings from 1945-1975, this book examines twentieth-century baroque performance practice as evinced in all the commercially available recordings of J.S. Bach's Passions, Brandenburg Concertos and Goldberg Variations. Dorottya Fabian presents a qualitative, style-orientated history of the early music movement in its formative years through a comparison of the performance style heard in these recordings with the scholarly literature on Bach performance practice. Issues explored in the book include the availability of resources, balance, tempo, dynamics, ornamentation, rhythm and articulation. During the decades following the Second World War, the early music movement was more concerned with the revival of repertoire than with the revival of performance style which meant that its characteristics and achievements differed essentially from those of the later 1970s and 1980s. Period practice techniques were not practised even by ensembles using eighteenth-century instruments. Yet, as this survey reveals, several recordings of the period provide unexpectedly stylish interpretations using metre and pulse to punctuate the music. Such metric performance and appropriate articulation helped to clarify structure and texture and assisted in the creation of a musical discourse - the pre-eminent goal of baroque compositions.
An invaluable guide to the available historical source material on playing the violin and viola.
Most people agree that witnessing a live performance is not the same as seeing it on screen; however, most of the performances we experience are in recorded forms. Some aver that the recorded form of a performance necessarily distorts it or betrays it, focusing on the relationship between the original event and its recorded versions. By contrast, Reactivations focuses on how the audience experiences the performance, as opposed to its documentation. How does a spectator access and experience a performance from its documentation? What is the value of performance documentation? The book treats performance documentation as a specific discursive use of media that arose in the middle of the 20th century alongside such forms of performance as the Happening and that is different, both discursively and as a practice, from traditional theater and dance photography. Philip Auslander explores the phenomenal relationship between the spectator who experiences the performance from the document and the document itself. The document is not merely a secondary iteration of the original event but a vehicle that gives us meaningful access to the performance itself as an artistic work.
We know what, say, a Josquin mass looks like but what did it sound like? This is a much more complex and difficult question than it may seem. Kenneth Kreitner has assembled twenty articles, published between 1946 and 2009, by scholars exploring the performance of music from the fifteenth and sixteenth centuries. The collection includes works by David Fallows, Howard Mayer Brown, Christopher Page, Margaret Bent, and others covering the voices-and-instruments debate of the 1980s, the performance of sixteenth-century sacred and secular music, the role of instrumental ensembles, and problems of pitch standards and musica ficta. Together the papers form not just a comprehensive introduction to the issues of renaissance performance practice, but a compendium of clear thinking and elegant writing about a perpetually intriguing period of music history.