LEADER 04417nam 22006374a 450 001 9911008477003321 005 20200520144314.0 010 $a1-282-89489-7 010 $a9786612894893 010 $a1-58046-712-1 024 7 $a10.1515/9781580467124 035 $a(CKB)2670000000056196 035 $a(OCoLC)680017753 035 $a(CaPaEBR)ebrary10426250 035 $a(SSID)ssj0000412140 035 $a(PQKBManifestationID)12183332 035 $a(PQKBTitleCode)TC0000412140 035 $a(PQKBWorkID)10376659 035 $a(PQKB)10160880 035 $a(MiAaPQ)EBC3003724 035 $a(MdBmJHUP)musev2_89789 035 $a(DE-B1597)674889 035 $a(DE-B1597)9781580467124 035 $a(UkCbUP)CR9781580467124 035 $a(EXLCZ)992670000000056196 100 $a20080111d2008 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe art of musical phrasing in the eighteenth century $epunctuating the classical period /$fStephanie D. Vial 210 $aRochester $cUniversity of Rochester Press$dc2008 215 $a1 online resource (xvi, 358 pages) $cdigital, PDF file(s) 225 1 $aEastman studies in music,$x1071-9989 ;$vv. 55 300 $aTitle from publisher's bibliographic system (viewed on 10 Mar 2023). 311 $a1-58046-034-8 320 $aIncludes bibliographical references (p. [325]-341) and index. 327 $aEstablishing an historical perspective. Musical punctuation, the analogy ; A surprisingly complex and lively picture of pointing theory ; Musical "resting points of the spirit" -- The art of interpreting rests. Written and unwritten rests ; Punctuation vs. articulation ; Affective punctuation -- Case studies in musical punctuation. Musical prose: F.W. Marpurg's essay on the punctuation of recitative ; Musical verse: Johann Mattheson's "curious specimen" of a punctuated minuet. 330 $aPractical suggestions, and documentary evidence, for performers wishing to understand the gestures and nuances embedded in eighteenth-century musical notation. There are, of course, no commas, periods, or question marks in music of the Baroque and Classic eras. Nonetheless, the concept of "punctuating" music into longer and shorter units of expression was richly explored by many of the era's leading composers, theorists, and performers. The Art of Musical Phrasing in the Eighteenth Century gathers and discusses, for the first time, an extensive collection of quotations and musical illustrations relevant tophrase articulation and written and unwritten rests. Among the notable authors cited and discussed are Muffat, Telemann, C. P. E. Bach, Mattheson, Marpurg, Tartini, and Mozart's father Leopold (author of the most important eighteenth-century treatise on string playing). On a larger scale, The Art of Musical Phrasing demonstrates the role of punctuation within the history of rhetoric during the Age of Enlightenment. From this, the performer of todaycan gain a greater appreciation for both the strengths and shortcomings of the analogy that writers of the day drew between punctuation in written language and in music. Modern performers, argues Vial, have the challenge andresponsibility of understanding and conveying the nuances, inflections, and rhythmic gestures deeply embedded in eighteenth-century musical notation. The Art of Musical Phrasing, the fruit of Vial's rich experience as a cellist performing on both period and modern instruments, lays out long-needed practical suggestions for achieving this goal. Stephanie D. Vial performs and records widely as a cellist and has taught at the University ofNorth Carolina at Chapel Hill and Duke University. 410 0$aEastman studies in music ;$vv. 55. 606 $aPerformance practice (Music)$xHistory$y18th century 606 $aMusic$xInterpretation (Phrasing, dynamics, etc.) 606 $aMusical notation 615 0$aPerformance practice (Music)$xHistory 615 0$aMusic$xInterpretation (Phrasing, dynamics, etc.) 615 0$aMusical notation. 676 $a781.4/309033 700 $aVial$b Stephanie$01825899 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9911008477003321 996 $aThe art of musical phrasing in the eighteenth century$94393825 997 $aUNINA