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Background To Articulation In The Performance Practice Of Bach' Era - Essay Example

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C. "Singing in the Lutheran tradition"; In Lutheran period music is considered as one of the greatest gift from the God. There were certain types of music education that were the main part of Lutheran period like Musica Practica (Performance and Composition)…
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Background To Articulation In The Performance Practice Of Bach' Era

Download file to see previous pages... D. The 'cantabile' style; Bach's enticement, almost persistence, on arriving at a 'cantabile' manner of playing of the collected works both striking and imperative for indicating how Bach himself wished these pieces to be realized auditorily. In luminosity of the serious difficulties facing musicologists employing stylistic examination of ancient music (as opposed to very successful structural analysis), it makes common sense to re-claim the term "style" to pass on to the manner in which works are realized by the musician in performance and to merge it with an aesthetic consideration for what may be termed "stylistically informed performance practice". By and large speaking, aside from JS Bach's keyboard pieces in the French style, his objectives for the auditory realization of his mid-period works on stringed clavier instruments were likely to be in the polished, cosmopolitan (Italian) cantabile style of the time, a style which is well predictable and taught by the music aesthetician J.J. Quantz in his treatise on playing the flute.
E. Rhetoric and the relationship between composer and performer; rhetoric was an elementary material of education and humanist and considered to be the only way of teaching expressions and grammatical both. There were periods in the times gone by of music in which the rhetorical standard, as expressed by Bach, had a comprehensive connotation in terms of music and more importantly for instrumental music; a fact well-known to musicologists these days by way of the theoretical primary sources available. On the other hand, modern-day practitioners, particularly instrumentalists, are not fully aware of the far-reaching gravity of the rhetorical principle and its submission to an important part of the repertoire. The relationship between speech and music, as well as rhetoric and music without a doubt illustrates that both come about over time and are received by the ear. This implies a further commonality between speech and music: both consist of continuous alterations of their elements (pitch and utterance, respectively), which are syntactically organized. In other expressions, both are systems bottom on symbols that even share common secondary semantic content: repetition, accent, caesura, articulation, range, contrast, extension, dynamics, rhythm, and not lastly the dependence on presentation.
F. "Figurae"; Pritz defined two types of figurae that can be used by the singers or at least they should be aware of that; he defines two types of Figurae; one is Simple and other one is compound. Marpurg defines the importance of figurae in such a manner that they should be the part of a rhetoric music.
G. "Of itinerary", the separating line between the two camps is rather unclear, since many solemn musicians put a lot of thought into how they play, and often research the chronological background and practices of the works they perform. And scholars inquire about more than mere theoretical correctness in performances.
H. This line has become predominantly unclear with the emergence of the Early Music movement, which Modern performers eye with subterranean interest, misgiving, and even a little ...Download file to see next pagesRead More
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