Baroque Music

Contents

• Contents: Introduction
• Part I Prologue: On the execution of music, and principally of ancient music, Camille Saint-SaA"ns. Part II The Right Instrument: Reconstructing the harpsichord, Frank Hubbard
• The harpsichord culture in Bach's environs, John Koster
• Bach and the flute: the players, the instruments, the music, Ardal Powell with David Lasocki
• New light on the old bow: part 1, Robert E. Seletsky
• New light on the old bow: part 2, Robert E. 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
• Beyond temperament: non-keyboard intonation in the 17th and 18th centuries, Bruce Haynes. Part IV Technique and Style: Handelian keyboard fingerings, Mark Lindley
• Violin fingering in the 18th century, Peter Walls
• Tu ru or not Tu ru: paired syllables and unequal tonguing patterns on woodwinds in the 17th and 18th centuries, Bruce Haynes
• 'La voce e grata assai, ma...': Monteverdi on singing, Richard Wistreich. 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, Subtext, Surtext): Text, context and the early music editor, Philip Brett
• Sous les doits de Chambonniere, David Fuller
• Violinistic virtuosity in the 17th century: Italian supremacy or Austro-German hegemony?, Peter Allsop
• Ornaments for Corelli's Violin Sonatas, op. 5, Neal Zaslaw. Part VII Tempo and Rhythmic Alteration: DejA vu all over again? Rhythmic alteration vs. Neumann's musical protectionism, Stephen E. Hefling
• Alteration in Handel: a fresh approach, John Byrt
• Bach's French overtures and the politics of overdotting, Matthew Dirst. Part VIII Scoring: 'Col nobilissimo esercitio della vivuola': Monteverdi's string writing, Peter Holman
• Professional women musicians in early 18th-century WA1/4rttemberg, Samantha Owens
• P