Classical and Romantic Performing Practice 1750-1900

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Clive Brown (Professor of Applied Musicology, Professor of Applied Musicology, University of Leeds)

Classical and Romantic Performing Practice 1750-1900

Clive Brown (Professor of Applied Musicology, Professor of Applied Musicology, University of Leeds)

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English

Oxford University Press
01 July 2004

Music; Classical music (c 1750 to c 1830); Romantic music (c 1830 to c 1900); Techniques of music & music tutorials

The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.

By: Clive Brown (Professor of Applied Musicology Professor of Applied Musicology University of Leeds)
Imprint: Oxford University Press
Country of Publication: United States
Dimensions: Height: 159mm, Width: 237mm, Spine: 32mm
Weight: 907g
ISBN: 9780195166651
ISBN 10: 0195166655
Pages: 676
Publication Date: 01 July 2004
Audience: Professional and scholarly , Undergraduate
Format: Paperback
Publisher's Status: Active

Sir Roger Norrington: Foreword Introduction 1: Accentuation in Theory 2: Accentuation in Practice 3: The Notation of Accents and Dynamics 4: Articulation 5: Articulation and Expression 6: The Notation of Articulation and Phrasing 7: String Bowing 8: Tempo 9: Alla Breve 10: Tempo Terms 11: Tempo Modification 12: Embellishment, Ornamentation, and Improvisation 13: Appoggiaturas, Trills, Turns, and Related Ornaments 14: Vibrato 15: Portamento 16: The fermata; Recitative; Arpeggiation; The Variable Dot and Other Aspects of Rhythmic Flexibility; Heavy and Light Performance Index

Clive Brown is Professor of Applied Musicology, University of Leeds; and Consultant, London Classical Players

Reviews for Classical and Romantic Performing Practice 1750-1900

This book will revolutionize the study of music...The book weaves strong patterns from the conflicting habits of different places, people and periods. It doesn't tell you exactly what to do, but inspires a confidence that your own decisions, thus informed, will work. --BBC Music Magazine Brown has produced a work of the greatest scholarship and utility....Recommended--required!--for all libraries with music collections serving upper-division undergraduates and above. --Choice His substantial book presents many new findings and demonstrates new approaches. Brown has contributed greatly to our understanding of period technique, especially for string instruments --Notes His book offers a wealth of advice and ideas, ideas which should be thought of as creative and enabling, not restrictive. --Early Music Review Brown's grasp of primary sources is wide-ranging and scholarly, lavishly illustrated with musical examples, often of unfamiliar repertory. He uncovers many questions and possible answers, which can hardly fail to stimulate the thinking performer. --Gramophone Early Music The fact that the book focuses on notation will make it permanently useful, something to consult. --The Musical Times