اجرا کردن موسیقی باروک

(Amadeus). This practical guide is devoted to the important issues of baroque performance practice. Listeners and performers will find the analytical tools they need to understand and interpret period works. Scores for 11 works are included. cover......Page 1 Local Disk......Page 0 cover-0......Page 2 page_1......Page 3 page_2......Page 6 page_3......Page 7 page_4......Page 8 page_5......Page 9 page_6......Page 11 page_7......Page 14 page_8......Page 15 page_9......Page 16 page_10......Page 17 page_11......Page 18 page_12......Page 19 page_13......Page 20 page_14......Page 21 page_15......Page 22 page_16......Page 23 page_17......Page 24 page_21......Page 25 page_22......Page 26 page_23......Page 27 page_24......Page 28 page_25......Page 29 page_26......Page 30 page_27......Page 31 page_28......Page 33 page_29......Page 34 page_30......Page 35 page_31......Page 36 page_32......Page 37 page_33......Page 38 page_34......Page 39 page_35......Page 40 page_36......Page 41 page_37......Page 42 page_38......Page 43 page_39......Page 44 page_40......Page 45 page_41......Page 46 page_42......Page 47 page_43......Page 48 page_44......Page 50 page_45......Page 51 page_46......Page 52 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page_188......Page 224 page_189......Page 225 page_190......Page 226 page_191......Page 227 page_192......Page 228 page_193......Page 229 page_194......Page 230 page_195......Page 231 page_197......Page 232 page_198......Page 233 page_199......Page 234 page_200......Page 235 page_201......Page 236 page_202......Page 237 page_203......Page 238 page_205......Page 239 page_206......Page 240 page_207......Page 241 page_208......Page 243 page_209......Page 244 page_210......Page 245 page_211......Page 246 page_212......Page 247 page_213......Page 248 page_214......Page 249 page_215......Page 250 page_216......Page 251 page_217......Page 252 page_218......Page 254 page_219......Page 256 page_220......Page 258 page_221......Page 260 page_222......Page 261 page_223......Page 262 page_224......Page 264 page_225......Page 265 page_226......Page 267 page_227......Page 269 page_228......Page 271 page_229......Page 272 page_230......Page 274 page_231......Page 276 page_232......Page 278 page_233......Page 279 page_234......Page 280 page_235......Page 281 page_236......Page 282 page_237......Page 283 page_238......Page 284 page_239......Page 285 page_240......Page 286 page_241......Page 287 page_242......Page 288 page_243......Page 289 page_244......Page 290 page_245......Page 292 page_246......Page 294 page_247......Page 296 page_248......Page 297 page_249......Page 298 page_251......Page 300 page_252......Page 303 page_253......Page 307 page_254......Page 311 Mary Cyr's Performing Baroque Music is unique as a practical guide devoted in its entirety to the most important issues of baroque performance practice. Listeners, performers, students, and instructors will find here, carefully explained and thoroughly documented, the analytical tools they need to understand and interpret musical evidence from the baroque era. Cyr, an acclaimed baroque musician as well as a noted scholar, considers "both the boundaries and the freedom that were inherent in baroque performing techniques." Chapter 1 introduces the field of performance practice and its goals, the limits of "authenticity," and the characteristics of baroque sound. Chapters 2 through 8 explore issues critical to the performance of baroque music: tempo, dynamics, pitch and temperament, the basso continuo, articulation, rhythm and notational conventions, and appropriate ornamentation. Readers will find new material on continuo playing, as well as extensive treatment of singing and French music . Scores for eleven works, many reproduced in facsimile to illustrate the conventions of seventeenth- and eighteenth-century notation, are included for close study. These works are also available on the cassette tape offered as a companion to this book, featuring recent performances by musicians of international reputation. The literature on baroque performance practice has grown to such vast proportions in recent decades that this thoughtful volume serves also as a concise guide to reference materials. Extensive annotated bibliographies of modern and baroque sources will be useful to performers and fans. During the baroque period, performer and composer shared a more equal role in the compositional process than is typical today, so that interpretation in performance is particularly important. Mary Cyr's work contributes greatly to our understanding of the creation of baroque sound and to the shared goal of effective and enjoyable performance.