000			02075nam a2200337 i 4500
001			698160
005			20230211075827.0
007			cr||||||||||||
008			200113s2017 enk gs 000|0|eng d
020			_a9781315096643 (ebook)
035			_a(StDuBDS)AH32942747
040			_aStDuBDS _beng _cStDuBDS _erda _dUkPrAHLS
072		7	_aAVC _2thema
072		7	_aNH _2thema
245	0	0	_aBaroque music / _cedited by Peter Walls.
250			_a1st edition.
264		1	_aLondon : _bRoutledge, _c2017.
300			_a1 online resource
336			_atext _2rdacontent
337			_acomputer _2rdamedia
338			_aonline resource _2rdacarrier
366			_b20170705
520	8		_aResearch in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. This volume, beginning with a 1915 Saint-Sa lecture on the performance of old music, sets out to capture musicological discussion that has actually changed the way Baroque music can sound. The articles deal with historical instruments, pitch, tuning, temperament, the nexus between technique and style, vibrato, the performance implications of musical scores, and some of the vexed questions relating to rhythmic alteration. It closes with a section on the musicological challenges to the ideology of the early music movement mounted (principally) in the 1990s. Leading writers on historical performance practice are represented. Recognizing that significant developments in historically-inspired performance have been led by instrument makers and performers, the volume also contains representative essays by key practitioners.
533			_aElectronic reproduction. _cAskews and Holts. _nMode of access: World Wide Web.
650		7	_aMusic reviews & criticism _2thema
650		7	_aHistory _2thema
655		7	_2lcsh
700	1		_aWalls, Peter, _eeditor.
856	4	0	_uhttp://www.vlebooks.com/vleweb/product/openreader?id=WestLondon&isbn=9781315096643
942			_n0 _2ddc
999			_c49562 _d49562