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8 | (4) |
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10 | (2) |
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11 | (1) |
| Abbreviations |
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12 | (3) |
| Preface |
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15 | (2) |
| Acknowledgments |
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17 | (4) |
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1 Performance Practice and Baroque Sound |
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21 | (8) |
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The role of the performer in baroque music |
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23 | (1) |
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§ The sources and tools for studying baroque performance |
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24 | (1) |
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24 | (2) |
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26 | (3) |
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29 | (20) |
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Tempo mark and meter in baroque music |
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30 | (1) |
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§ Determining the appropriate spirit |
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31 | (4) |
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35 | (1) |
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§ Tempo in seventeenth-century music |
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36 | (2) |
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§ The eighteenth-century adagio |
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38 | (3) |
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§ Other baroque tempo marks |
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41 | (1) |
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§ The dances and their tempos |
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42 | (3) |
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45 | (4) |
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49 | (10) |
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Written and unwritten dynamic nuances in the seventeenth century |
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50 | (2) |
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§ Written and implied dynamics in eighteenth-century music |
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52 | (2) |
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§ The relationship of dynamics to harmony |
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54 | (2) |
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56 | (3) |
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4 Pitch, Tuning, and Temperament |
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59 | (12) |
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The nonstandard nature of baroque pitches and temperaments |
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60 | (1) |
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§ Northern Germany: The background to Bach's pitches |
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61 | (1) |
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62 | (1) |
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§ Low pitches used in France |
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63 | (1) |
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§ Some high and low pitches in Italy |
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64 | (1) |
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§ Choosing a pitch for modern performance |
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64 | (1) |
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§ Equal and nonequal temperaments |
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65 | (2) |
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67 | (4) |
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71 | (16) |
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Use and function of the continuo in the seventeenth century |
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72 | (1) |
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§ The choice of continuo instruments in French music |
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73 | (1) |
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§ The continuo instruments in Bach's music |
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74 | (1) |
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§ Realizing the continuo part |
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74 | (7) |
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§ Summary and modern considerations |
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81 | (2) |
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83 | (4) |
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87 | (22) |
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Lully and seventeenth-century French orchestral practice |
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89 | (5) |
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§ The emergence of solo styles of articulation in the eighteenth century |
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94 | (3) |
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§ Late baroque solo and orchestral playing |
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97 | (3) |
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100 | (2) |
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§ Articulation in singing |
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102 | (1) |
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103 | (3) |
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§ Summary: Choosing an articulation |
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106 | (1) |
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106 | (3) |
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109 | (14) |
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110 | (1) |
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§ Declamation and recitative |
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111 | (5) |
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§ Other rhythmic alterations |
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116 | (4) |
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§ Summary and final thoughts |
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120 | (1) |
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120 | (3) |
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123 | (22) |
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124 | (8) |
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§ Italian ornamentation after 1660,128 § French ornamentation after 1660 |
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132 | (4) |
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136 | (2) |
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§ J. S. Bach's ornamentation |
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138 | (2) |
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140 | (5) |
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Appendix A Guide to Scores |
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145 | (96) |
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Johann Sebastian Bach: Recitative ("Zwar fuhlt mein schwaches Herz") and aria ("Doch weichet, ihr tollen") from Liebster Gott, wemi werd kh sterben (BWV 8) |
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147 | (14) |
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§ Johann Sebastian Bach: Sinfonia from Ich hatte viel Bekummernis (BWV 21) |
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161 | (4) |
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§ Dieterich Buxtehude: Sonata in A, Op 2, No 5 |
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165 | (14) |
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§ Andre Campra: Forlana from L'Europe galante |
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179 | (6) |
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§ Arcangelo Corelli: Sonata Op 5, No 5 |
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185 | (12) |
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§ Louis Couperin: Prelude in F for harpsichord |
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197 | (8) |
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§ George Frideric Handel: Aria ("Sirti, scogli, tempeste") from Flavio |
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205 | (4) |
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§ Jean-Baptiste Lully: Ouverture to he bourgeois gentilhomme |
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209 | (6) |
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§ Claudio Monteverdi: Strophic aria ("Possente spirto") from Orfeo |
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215 | (18) |
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§ Jean-Philippe Rameau: Menuet in G for harpsichord |
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233 | (2) |
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§ Jean-Philippe Rameau: Menuet and air ("Naissez dons de Flore") from Castor et Pollux |
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235 | (6) |
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Appendix B Bibliographies and General Studies of Performance Practice |
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241 | (2) |
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Appendix C Pre-1800 Sources Cited |
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243 | (5) |
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Appendix D Credits for Musical Examples and Tables |
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248 | (3) |
| Index |
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251 | |
