Performance Practice and Baroque Sound | |
The role of the performer in baroque music | |
The sources and tools for studying baroque performance | |
Baroque Sound | |
Bibliographical notes | |
Tempo and Spirit | |
Tempo mark and meter in baroque music | |
Determining the appropriate spirit | |
Affect and the aria | |
Tempo in 17th century music | |
The 18th century adagio | |
Other baroque tempo marks | |
The dances and their tempos | |
Bibliographical notes | |
Dynamics | |
Written and unwritten dynamic nuances in the 17th century | |
Written and implied dynamics in 18th century music | |
The relationship of dynamics to harmony | |
Bibliographical notes | |
Pitch, Tuning, and Temperament | |
The nonstandard nature of baroque pitches and temperaments | |
Northern Germany, The background to Bach's pitches | |
J S Bach's pitches | |
Low pitches used in France | |
Some high and low pitches in Italy | |
Choosing a pitch for modern performance | |
Equal and nonequal temperaments | |
Bibliographical notes | |
The Basso Continuo | |
Use and function of the continuo in the 17th century | |
The choice of continuo instruments in French music | |
The continuo instruments in Bach's music | |
Realizine the continuo part | |
Summary and modern considerations | |
Bibliographical notes | |
Articulation | |
Lully and 17th century French orchestral practice | |
The emergence of solo styles of articulation in the 18th century | |
Late baroque solo and orchestral playing | |
Woodwind articulation | |
Articulation in singing | |
Keyboard articulation | |
Summary: Choosing articulation | |
Bibliographical notes | |
Rhythm and Notation | |
The unmeasured prelude | |
Declamation and recitative | |
Other rhythmic alterations | |
Summary and final thoughts | |
Bibliographical | |
Ornamentation | |
The early baroque period | |
Italian ornamentation after 1660 | |
French ornamentation after 1660 | |
Vocal ornamentation | |
J S Bach's ornamentation | |
Bibliographical notes | |
Appendices | |
Index | |
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