Ornamentation in Baroque and Post-Baroque Music, with Special Emphasis on J.S. Bach / / Frederick Neumann.

• Superior document: Title is part of eBook package: De Gruyter Princeton University Press eBook-Package Archive 1927-1999
• VerfasserIn: Neumann, Frederick,
• Place / Publishing House: Princeton, NJ : : Princeton University Press, , [2020]; ©1978
• Year of Publication: 2020
• Language: English
• Physical Description: 1 online resource (648 p.)
• Other title: Frontmatter --; Preface --; Acknowledgments --; Contents --; List of Abbreviations --; PART I: INTRODUCTION --; 1 Ornament and Structure --; 2 The Categories of Musical Ornaments --; 3 Historical Performance and the Problem of Method --; PART II: BAROQUE TRENDS OF ORNAMENTATION --; Introduction --; 4 Italian Developments --; 5 French Developments --; 6 German Developments --; 7 J. S. Bach's Usage --; PART III: ONE-NOTE GRACES --; Introduction: Vorschlag, Nachschlag, Zwischenschlag, Zusammenschlag --; 8 The French Port de voix and Coulé: Definition and Character --; 9 Port de voix and Coulé for Voice and Melody Instruments, 1636-1715 --; 10 Port de voix and Coulé on the Lute and the Keyboard 1615-1715 --; 11 Couperin's Ports de voix and Coulés --; 12 Port de voix and Coulé, 1715-1775 --; 13 Accent and Chûte --; 14 Italian One-Note Graces 1590-1710 --; 15 German One-Note Graces, 1620-1715 --; 16 J. S. Bach's One-Note Graces --; 17 Italian One-Note Graces 1710-1760 --; 18 German One-Note Graces 1715-1765 --; PART IV: THE SLIDE --; Introduction: Two-Note Graces and the Nature of the Slide --; 19 The French Slide, 1689-1776 --; 20 The Italo-German Slide, 1600-1715 --; 21 J. S. Bach's Slide --; 22 The Italian Slide, 1710-1760 --; 23 The German Slide 1715-1780 --; PART V: THE TRILL --; Introduction: Designs and Terms --; 24 The French Trill 1630-1715 --; 25 Couperin's Trill --; 26 The French Trill, 1715-1785 --; 27 The Italian Trill, 1590-1710 --; 28 The German Trill 1615-1715 --; 29 J. S. Bach's Trill --; 30 The Italian Trill, 1710-1760 --; 31 The German Trill, 1715-1780 --; PART VI: THE COMPOUND TRILL --; Introduction: Turn-Trill, Slide-Trill, Mordent-Trill --; 32 The French Compound Trill 1685-1760 --; 33 J. S. Bach s Compound Trill --; 34 The Italian and German Compound Trill 1715-1780 --; PART VII: THE MORDENT --; Introduction: Types and Designs --; 35 The French Mordent, 1630-1715 --; 36 The Mordent of Couperin and Later Masters, 1710-1780 --; 37 The Italo-German Mordent 1600-1715 --; 38 J. S. Bach's Mordent --; 39 The Italian Mordent, 1710-1760 --; 40 The German Mordent, 1715-1765 --; PART VIII: OTHER SMALL ORNAMENTS --; 41 The Turn --; 42 The Zusammenschlag (Acciaccatura) --; 43 The Anschlag --; 44 The Arpeggio --; 45 The Vibrato --; PART IX: FREE ORNAMENTATION --; 46 Free Ornamentation of the French School --; 47 Free Ornamentation of the Italo-German School in the 17th Century --; 48 J. S. Bach's Free Ornamentation --; 49 Free Ornamentation of the Italo-German School, 1700-1775 --; Postscript: Historical Research and Modern Performance --; Appendix: Selective Glossary of Terms and Symbols --; Selected Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780691213347; 9783110442496
• DOI: 10.1515/9780691213347?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Frederick Neumann.

Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period.The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.