Isbn: 9780253206800 - performance practices in classic piano music: their principles and applications (music-scholarship and performance) (34 Ergebnisse)

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Paperback. Zustand: New. Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility. Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi. " . . . is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period." -American Music Teacher "Rosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses." -Journal of Musicological Research "The extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice." -Early Keyboard Journal "Her attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated." -The Musical Times "Its importance to thoughtful musicians cannot be overstated." -Choice " . . . thoroughly musicological." -Performance Practice Review " . . . indispensable . . . " -New York Times.…

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Zustand: New. Examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources Series: Music: Scholarship & Performance S. Num Pages: 546 pages, black & white illustrations. BIC Classification: AVRG; AVS. Category: (P) Professional & Vocational. Dimension: 244 x 173 x 29. Weight in Grams: 902. . 1988. 1st Midland Book Ed. Paperback. . . . . …

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Zustand: New. Examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources Series: Music: Scholarship & Performance S. Num Pages: 546 pages, black & white illustrations. BIC Classification: AVRG; AVS. Category: (P) Professional & Vocational. Dimension: 244 x 173 x 29. Weight in Grams: 902. . 1988. 1st Midland Book Ed. Paperback. . . . . Books ship from the US and Ireland. …

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Paperback. Zustand: new. Paperback. Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility.Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi. . is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period." -American Music TeacherRosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses." -Journal of Musicological ResearchThe extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice." -Early Keyboard JournalHer attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated." -The Musical TimesIts importance to thoughtful musicians cannot be overstated." -Choice. thoroughly musicological." -Performance Practice Review Examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.…

Zustand: New. Examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources&Uumlber den AutorSandra P. Rosenblum has lectured widely on performance practice.

Taschenbuch. Zustand: Neu. Neuware - Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility. Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi. ' . . . is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period.' -American Music Teacher 'Rosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses.' -Journal of Musicological Research 'The extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice.' -Early Keyboard Journal 'Her attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated.' -The Musical Times 'Its importance to thoughtful musicians cannot be overstated.' -Choice ' . . . thoroughly musicological.' -Performance Practice Review ' . . . indispensable . . . ' -New York Times.…

Taschenbuch. Zustand: Neu. Performance Practices in Classic Piano Music | Their Principles and Applications | Sandra P. Rsoenblum (u. a.) | Taschenbuch | Indiana University Press (IPS) | Einband - flex.(Paperback) | Englisch | 2000 | Indiana University Press | EAN 9780253206800 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.…

Paperback. Zustand: New. Performance today on either the pianoforte or the fortepiano can be at once joyful, musicianly, expressive, and historically informed. From this point of view, Sandra P. Rosenblum examines the principles of performing the music of Haydn, Mozart, Beethoven, and their contemporaries as revealed in a variety of historical sources: their autographs and letters, early editions of their music, original instruments, and contemporary tutors and journals. She applies these findings to such elements of performance as dynamics, accentuation, pedaling, articulation and touch, technique and fingering, ornaments and embellishments, choice of tempo, and tempo flexibility. Familiarity with the Classic conventions provides a framework for interpretation and an understanding of the choices available within the style, the amount of freedom a performer has, and which areas are ambiguous. Rosenblum's detailed study, copiously illustrated with musical examples, is invaluable for professional and amateur performers, serious piano students and their teachers and students of performance practices by Scarlatti and Clementi. " . . . is and will remain unsurpassed as the study dealing with performance practice as it pertains to keyboard music of the Classical period." -American Music Teacher "Rosenblum's monumental achievement is thorough, objective, balanced, and imaginative, a compelling blend of love and respect for the solo, chamber, and concerto literature she addresses." -Journal of Musicological Research "The extent and quality of her research, the depth of her perception, and her musicianship together break new ground in the study of historic performance practice." -Early Keyboard Journal "Her attention to details is absolutely scrupulous; no stone unturned, no argument unquestioned or unstated." -The Musical Times "Its importance to thoughtful musicians cannot be overstated." -Choice " . . . thoroughly musicological." -Performance Practice Review " . . . indispensable . . . " -New York Times.…