Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach
Regular price
€107.99
A cappella
A01=Frederick Neumann
Air de cour
Allemande
Altered chord
Ambiguity
Analogy
Appoggiatura
Author_Frederick Neumann
Bar (music)
Baroque
Carl Philipp Emanuel Bach
Category=AVA
Category=AVLA
Chorale
Chorale prelude
Clavichord
Coloratura
Composer
Courante
Da capo aria
Diminution
Domenico Scarlatti
Dotted note
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
Example (musician)
Flute Sonata (Poulenc)
For Example
Galant style
Georg Muffat
Gigue
Goldberg Variations
Grace note
Harpsichord
Illustration
Improvisation
Inflection
Italians
Johann Sebastian Bach
Legato
Leopold Mozart
Lombard rhythm
Marin Marais
Melisma
Mordent
Motet
Notation
Note value
Oboe
Ornament (music)
Partita
Phrase (music)
Piano
Polyphony
Praetorius
Publication
Quarter note
Rhythm
Ripieno
Sarabande
Singing
Slur (music)
Small Graces
Staccato
Suggestion
Suite (music)
The Musical Offering
Theory
Treatise
Trill (music)
Vibrato
Viol
Violin
Vocal music
Writing
Product details
- ISBN 9780691027074
- Weight: 1474g
- Dimensions: 216 x 279mm
- Publication Date: 21 Dec 1983
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
Secure
checkout
Fast Shipping
Easy returns
Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period. The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.
