Education Research, Teaching and Practice
Over 2000 ashgate books are now available
in ebook format, and those titles that are available
as ebooks show the eBook ISBN in this catalog.
For a complete list of our eBooks and contac
details for our suppliers,visit us oonline at:
www.ashgate.com/eBooks
THE LIBRARY OF ESSAYS ON MUSIC
NEW
PERFORMANCE PRACTICE
Medieval music
Series editor: Mary Cyr, university of Guelph. Ontario
Edited by honey meconi, university of rochester
The library of essays on music performance practice
The four volumes in this series are divided accordingrding to the traditional boundares of the historical periods in
musi: medieval renaissances, barroque, and classical/romantic. The repertoire ranges broadly acroos Western
art music, both secular and sacred , and addresses issues that arise in both vocal and instrumental music. This
collection is the most influential einglish-languaje writings about performance practice that heve been published
within the past several decades is an essential reference tool for libraries, scholars and students.
For more information,visit www.ashgato.com/musicreference
NEW
NEW
Baroque Music
Classical and Romantic Music
Edited by Peter Walls, New Zealand Symphony
Orchestra and Victoria University of Wellington,
New Zealand
The Library of Essays on Music Performance Practice
Edited by David Milsom,
University of Huddersfield, UK
The Library of Essays on Music Performance Practice
This selection of essays on historical performance
practice of the Baroque era includes the key essays from
recent scholarly research which, eventually, changed
both the way performers approach Baroque music, and
the way audiences listen to it. Topics covered include
historical instruments, pitch, tuning, temperament, the
nexus between technique and style, vibrato, the
performance implications of musical scores, questions
relating to rhythmic alteration and the musicological
challenges to the ideology of the early music movement.
Selected Contents: Introduction, Peter Walls. Part I:
Prologue: The execution of classical works: notably
those of the older masters, Camille Saint-Saens. Part II:
The Right Instrument: Reconstructing the harpsichord,
Frank Hubbard; New light on the old bow,
Robert Seletsky; Falsetto and the French: ‘une toute
autre marche,’ Andrew Parrott. Part III: Pitch Tuning
and Temperament: Bach’s keyboard temperament;
internal evidence from The Well-Tempered Clavier,
John Barnes. Part IV: Technique and Style: Handelian
keyboard fingerings, Mark Lindley; Violin fingering
in the 18th century, Peter Walls. Part V: Vibrato: The
vibrato controversy, Frederick Neumann; The censored
publications of The Art of Playing on the Violin, or
Geminiani unshaken, Roger Hickman. Part VI: What
Works?: Text, context and the early music editor,
Philip Brett; Sous les doits de Chambonniere,
David Fuller. Part VII: Tempo and Rhythmic Alteration:
Déjà vu all over again? Rhythmic alteration vs.
Neumann’s musical protectionism, Stephen E. Hefling.
Part VIII: Scoring: ‘Col nobilissimo esercitio della
vivuola’: Monteverdi’s string writing, Peter Holman.
Part IX: Challenging HIP: Bach defended against his
devotees, T.W. Adorno; Early music defended against
its
devotees: a theory of historical performance in the 20th
century, Laurence Dreyfus. Part X: Epilogue: A Bach
odyssey, Sigiswald Kuijken; Index.
Classical and Romantic Music Edited by David Milsom,
University of Huddersfield, UK The Library of Essays on Music
Performance Practice This volume brings together twenty-two
of the most diverse and stimulating journal articles on classical
and romantic performing practice, representing a rich
vein of enquiry into epochs of music still very much at
the forefront of current concert repertoire. In so doing,
it provides a wide range of subject-based scholarship
and reveals a fascinating window onto the historical
performance debate of the last few decades in music.
Selected Contents: Introduction. Part I: Style and
Purpose: Appraising 18th and 19th Century Aesthetics:
Performing Classical repertoire: the unbridgeable gulf
between contemporary practice and historical reality,
C. Brown; Mozart as early music: a Romantic antidote,
. Dreyfus. Part II: Studies in Historical Sources: Mathis
Lussy’s ‘Traite de l’expression musicale’ as a window
into performance practice, M.D. Green; Quantz’s
unegal: implications for the performance of 18thcentury
performance, metronome marks and tempo
Historicalperformance, metronome marks and tempo
in Beethoven’s symphonies, C. Brown. The case of
compensating rubato, S. Martin; Tempo as an expressive
element in the late Romantic lied, E.F. Kravitt; New light
on late 18th-century tempo: William Crotch’s pendulum
markings, E. Rubin. Part V: Notated Practices: Dots
and strokes in late 18th and early 19th-century music,
C. Brown; The expressive pause: punctuation, rests
and breathing in England 1770–1850, R. Toft. Part VI:
Un-Notated Practices: The beggar at the door: the rise
and fall of portamento in singing, J. Potter; Bowing
styles, vibrato and portamento in 19th-century violin
playing, C. Brown; Portamento and the phonograph
effect, M. Katz; Name index.
July 2011
c. 526 pages
978-0-7546-2859-0
Hardback
www.ashgate.com/isbn/9780754628590
July 2011
c. 566 pages
978-0-7546-2882-8
Hardback
c. $300.00
www.ashgate.com/isbn/9780754628828
Music Studies New Titles 2011 | www.ashgate.com/music
This selection of classic essays on music performance
Practice of the middle ages addresses the most crucial
Of performer`s decisions: pitch, rhythm and performing
Force, as well as related matters such as proportions,
Tunings and the need for ornamentation. The volume
Includes essays on all types of music monophony and
Polyphony, sacred and secular-and the introduction
Provides an overview of the major issues plus an
Extended bibliography of relevant scholarship.
Contents: part I: plainchant: the performance of
Plainchant, lance W. Brunner; giving voice to
Gregorian chant or: coping with modern orthodoxies,
Katarina livljanic. Part II:secular monophony: rhythm,
Meter, and melodi organization in medieval songs,
Hans tischler; the`not-so-precisely measures` music
Of the middle ages, hendrik van der werf: voices
And instruments in medieval secular French music:
A corrected ted renaissance art, james w mckinnon xt and a
new translation, chridtopher page.
Part III: polyphony to 1300: the performance of Parisian
Organum, Edward roesner; franco of cologne
On the rhyphony of organum prum Charles m. Atkinson;
The copula accormotet after q300: representation of the mass
inding to Johannes de garlandia,
Jeremy yudkin; conductus and modal rhythm,
Ernest H. sanders the performance of ars antique motets,
chritopher page. Part IV: mass and motet after 1300: the
performing ensemble for English church polyphony, c. 1320c.1390, roger bowers; text underlai in early 15th-century
musical manuscripts, gilbert reaney part V: the poly phony cf
music Christopher page,ohandso: machauts pupil
deschamps On the performance page the performancd e of
songs in late medieval france Christopher page; texting 15th
century embellismet and uxtet in the song repertorien david
fallowes. Part VI: other matters: musica recta and music ficta,
Margaret bent; the origin and the history of propotions sings
anna maria busse berger Jerome of propotion on the rubeba
and viella, christipher page: the Arabic influence shai index.
July 2011
c. 612 pages
978-0-7546- 2851-4
hardback
www.ashgate.com/isbn/9780758514
c. $325.00
c. $275.00
Series continued on the next page...