The End of Early Music A Period Performer's History of Music for the Twenty-First Century

by Haynes, Bruce

• ISBN13: 9780195189872
• ISBN10: 0195189876
• Format: Hardcover
• Copyright: 2007-07-20
• Publisher: Oxford University Press

Summary

Part history, part explanation of early music, this book also plays devil's advocate, criticizing current practices and urging experimentation. Haynes, a veteran of the movement, describes a vision of the future that involves improvisation, rhetorical expression, and composition. Written formusicians and non-musicians alike.

Author Biography

Recently retired as a performer, Bruce Haynes worked for many years in Holland. He introduced the hautboy into the Dutch music curriculum, teaching at the Royal Conservatory. Currently, he is Associate Professor in the Faculty of Music at the University of Montreal. He has published widely on the history of the oboe and performing pitch standards.

Table of Contents

List of Recorded Excerpts	p. XV
Introduction	p. 3
Literacy
The Romantic Revolution
Canonism and Classicism
Progress or Adaptation
Serendipity
Musical Rhetoric
Authenticity as a Statement of Intent
"Scare-Quotes" for Authenticity
The End of Early Music
Musicking
Terminology and Concepts
Performing Styles
When You Say Something Differently, You Say Something Different	p. 19
"Style Is That Which Becomes Unstylish"
Innovation
Eating the Cookbook
Chronocentrism: "Music as Tradition"
The Rise of Pluralism: Matching Style to Period
Mind the Gap: Current Styles	p. 32
Three Abstractions: Romantic, Modern, and Period Styles
Romantic Style: An Absolute
Recordings That Document the Heart of Romantic
Practice
Prophets of the Revolution: Dolmetsch and Landowska
The Authenticity Revolution of the 1960s
The Advent of Period Instruments and "Low Pitch": "Strange and Irregular Colors"
Chain Reaction
Guru Style: Rhetoric without the Name
Mainstream Style: "Chops, but No Soul"	p. 48
Modernism and Modern Style
The Performance Practices of Romantic Style and Modern Style Compared
Vibrato, the MSG of Music
Children of Modernism
Period Style Compared to Modern Style
Click-Track Baroque
Strait Style and Modernism
Strike Up the Bland: Strait Style Described
How Romantic Are We?
Classical Music's Coarse Caress	p. 67
The Musical Canon
Charles Burney and the Beginnings of Musical History
Why Did the Romantics Call Music "Classical"?
What Conservatories Conserve
Absolute Music (the Autonomy Principle)
Pachelbel's Canon Becomes Canon
Originality and the Cult of Genius
Attribution and Designer Labels
Repeatability and Ritualized Performance
The Transparent Performer	p. 86
Composer-Intention ("Fidelity to the Composer")
What Is a Piece of Music?
Werktreue (Work-Fidelity): The Musical Analogue of Religious Fundamentalism
The Urtext Imperative and Text Fetishism
Untouchability
The "Transparent" Performer and "Perfect Compliance"
The Romantic Invention of the Interpretive Conductor
The Maestro-Rehearsal
Changing Meanings, Permanent Symbols	p. 102
Changing Meanings, Permanent Symbols
Descriptive and Prescriptive Notation
The Incomplete Musical Score
Written Music's Oral Element
Writing Only the Essential in Rhetorical Music
Implicit Notation
Strait Style and the Neutral "Run-Through"
Style versus Interpretation
"Saying Bach, Meaning Telemann": Composer-Intention before the Romantic Period
Anachronism and Authenticity
Original Ears	p. 119
Vintage Compared with Style
Seconda Pratica
Past Examples of Authenticity Movements
The Difference between an Art Fake and a Period Concert
How Historical Musicology and HIP Differ
Romantic and Baroque Audiences Compared
Period Musicians in Victorian Outfits
Ways of Copying the Past	p. 138
Emulation and Replication: Two Renaissance Approaches to Imitation
The Emulation Principle
The Replication Principle
Imitation in the Canonic System
Style-Copying and Work-Copying
"Talking to Ghosts" and Work-Copying
The Kon-Tiki Observation
"What Really Happened" in History
Beyond History: The Shelf Life of Historical Evidence
What's Wrong with Anachronisms
The Medium Is the Message: Period Instruments	p. 151
The Instrument Trade-off
The Influence of Instruments on Performing Style
The Violins of Autumn
Period Instruments: Hardware and Software
Measuring the Makers
"Faults" in an Original
The Lefebure: More Than a Style-Copy
A Plea for More "Correctly Attributed Fakes"
"Don't Fix It if It Ain't Broke"
What Makes Baroque Music "Baroque"?
Baroque Expression and Romantic Expression Compared	p. 165
Rhetoric: Beyond Communication
Once More, with Feeling: The Affections
Persuasion: Winning Over the Listeners
Declamation / Expression / Vortrag
Commitment: The Baroque Performer "Himself in Flames"
Romantic Expression: The "Autobiography in Notes"
Rhetoric Abandoned by the Romantics: An Art "Broken to Service"
Rhetoric Overwhelmed by Beauty (= AEsthetics)
The Rainbow and the Kaleidoscope Romantic: Phrasing Compared with Baroque	p. 184
Figures and Gestures
Examples of Melodic Figures
Gestures as the Antiphrase
Orders or Levels of Meaning: Gesture and Phrase
Inflection (Individual Note-Shaping)
The End of "Early" Music
Passive and Active Musicking: Stop Staring and Grow Your Own	p. 203
The Cover Band Mentality
Playing in the Wind
Gracing: The Border between Composing and Performing
Improvisation: The Domain of the Performer
Style-Copying in Composing
Roll over Beethoven
Thoughts on the Genius Barrier
Two Examples of Present-Day Period Composing
Designer Labels
Our Own Music
Perpetual Revolution	p. 215
"The Musick of Fools and Madd Men": Limits to What Taste Will Accept
The Illusion of an Unbroken Performing Style from Mozart's Time to Ours
Beethoven Lite and Manifest Destiny
"Perpetual Revolution" and Changing Taste
HIP Is Anti-Classical
Default Style
Historians of Necessity
Trying to See over the Horizon of Time
The Pursuit of Authenticity
Notes	p. 229
Bibliographic Abbreviations	p. 249
Bibliography	p. 251
Index	p. 267
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