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The author compares the lives.


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Robert Philip Author See all 9 formats and editions. Chafe, Chif Deffaa, Lorne Michaels, Cheryl Hardwick, Patrick Smith, and many more for the excellence of their books, articles, and broadcasts on the subject of music. Great Wagner Conductors: a listener s companion.

Pdf Early Recordings And Musical Style Changing Tastes Ininstrumental Performance

Robert Philip, in Early Recordings and Musical Style, characterizes an evolving trend in violin playing, and its relation to string playing in general: While the use of vibrato by string-players was gradually increasing over the first half of the twentieth century, the use of portamento, or audible sliding, was becoming less frequent In this wide-ranging book, Robert Philip extends the scope of his earlier pioneering book, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance ISBN hardcover.

The book concentrates on aspects of performance. Performing music in the age of recording - Open Research. Following are selected sources in the UArts Music Library on the history, practice, and cultural influence of sound recordings and the sound recording industry. The list suggests the various ways the subject can be approached, and does not aim to address all aspects of the field.

Performing Music in the Age of Recording

Cambridge: Cambridge University Press, ISBN As a child, I was fascinated by the sounds of Caruso, Galli-Curci and Maud Powell that emanated magically from the horn of the family hand-crank Vic-trola phonograph. Cover Page - Universiteit Leiden. Robert Philip Robert Philip argues that recordings of the early twentieth-century provide an important, and hitherto neglected, resource in the history of musical performance. See all 9 formats and editions Hide other formats and editions.

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Douglas Leedy Robert Philip. Performing Music in the Age of Recording: Amazon.


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Freedom and restraint in recordings of Mozart - core. Download Streaming : Mark Marrington Favorites. Hamilton, After the golden age Oxford, , R.

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Philip, Early recordings and musical style: changing tastes in instrumental performance — Cambridge, and R. In Chopin's music rubato functioned as a way to make a melody more emotional through changing the tempo by, for instance, accelerando, ritenuto and syncopations. Chopin "often played with the melody subtly lingering or passionately anticipating the beat while the accompaniment stayed at least relatively, if not strictly, in time".

One can distinguish two types of rubato: in one the tempo of the melody is flexible, while the accompaniment is kept in typical regular pulse yet not rigidly in mechanical fashion; but adjusting to the melody as necessary— see below. Another type affects melody and accompaniment. While it is often associated with music of the Romantic Period , classical performers frequently use rubato for emotional expressiveness in all kinds of works. Tempo rubato or a tempo rubato means literally in robbed time , i. The terms ad libitum , ad lib.

Ad libitum means at liberty; a piacere , at pleasure; and a capriccio , at the caprice of the performer.

Description:

A tempo rubato. With indifferent performers, this indication is too often confounded with some expression signifying ad libitum. The opinion given by Tom S. Wotton, that "every bar has its proper time value" may be regarded as an inaccurate description: Karl Wilson Gehrkens mentions "duration taken from one measure [ Rubato relates to phrasing ; and since phrases often go over multiple bars; it is often impossible and also not desired for each bar to be identically long.

Early twentieth-century rubato seems to be very eventful. That is absurd, because the bar line is a notational, not a musical, matter. But there is no necessity to pay back even within the phrase: it is the metaphor that is wrong.

What is lost is lost. Some theoreticians, however, rejected even the idea that rubato relies on accelerando and ritardando. They were not recommending that a performance should be strictly metronomic, but they came up with a theory saying that rubato should consist of tenuto and shortened notes. The theory was based on the idea of using small changes of rhythm and tempo for expression. The theory found many supporters. Some writers compared this type of rubato to declamation in speech.

Should a triplet be written by the composer, care must be taken here to make the first note of the three a trifle longer than the rest, and thus give a musicianly rendering of it. To hurry the time in such a pace would spoil the rhythm Both of the theories described above had their opponents and supporters.

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Early recordings and musical style : changing tastes in instrumental performance, 1900-1950

There was one question, though, that emerged in reference to both. The author compares the lives of musicians and audiences in the years before recordings with those of today. He examines such diverse and sometimes contentious topics as changing attitudes toward freedom of expression, the authority of recordings made by or approved by composers, the globalization of performing styles, and the rise of the period instrument movement. Philip concludes with a thought-provoking discussion of the future of classical music performance.

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