![]() ![]() ![]() Thieme, a Bach student and choir member the title page They are present in German sources from Bach's years as a composer.ĭid Bach himself associate time signatures with tempos? At least two sources While such linkages were neither perfectly systematic nor uniformly observed, 4 Mention links of time signatures with tempos. German writers, a number of them, such as Sperling Of time signatures, but that signatures remained the primary indicators. ![]() Tempo words were conventionally used to modify or clarify the tempo implications Houle concludes that 17 th century notational conventions 'requiredĬomposers to use meter signs uniformly to indicate both metrical structuresīy the end of the century (when Bach was being trained), genres and Italian The idea that certain HIP choices are more historically grounded.Ī number of scholars have argued recently that time signatures conveyed basicĬlearly, the musical world he grew up in used time signatures this way. More than enough artistic effectiveness to justify their use. Pertains, I do not aim to be prescriptive. Second, while this article focuses on cases where the opposite That HIP tempos in Bach tend to be more historically defensible than slower First, what I've been able to discern suggests Unequal temperament and 'rhetorical' phrasing.īelow I suggest that certain tempos prevalent in HIP Bach ignore notationalĭistinctions and are, as a result, less historical than slower pre-HIP tempos.Īt this late stage of the early-music debates, however, my stance is - or so Frederick Neumann campaigned against HIP use ofįrench-style performance practices in Bach other critics cast doubt on Win recording royalties, would-be debunkers have questioned its But this article is just to valuable to be gone!Įver since historically informed performance (HIP) of Bach began to The only reason it exist here is that I (Robert Ståhlbrand) noticed to my horror that his web site was down and grabbed this copy from the Google Cache! If Bernhard reads this and believes that I am not authorized to do so, just let me know. Music, The New York Times, and many other publications. His essays and articles have appeared in Early Performance' in The Encyclopedia of aesthetics (OUP, 1998). Is the author of Inside early music(Oxford University Press, 1997), co-editor of Performing Brahms(Cambridge University Press, forthcoming),Īnd author of the essay ' Authenticity in musical "Forbidden Childhood" by Ruth Slenczynska.Bach - Music Manuscript Notation (ornaments etc.). ![]()
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