📚 Hub Books: Онлайн-чтение книгРазная литератураКонец старинной музыки. История музыки, написанная исполнителем-аутентистом для XXI века - Брюс Хейнс

Конец старинной музыки. История музыки, написанная исполнителем-аутентистом для XXI века - Брюс Хейнс

Шрифт:

-
+

Интервал:

-
+
1 ... 81 82 83 84 85 86 87 88 89 ... 99
Перейти на страницу:
Vol. 2. Routledge, 1992. P. 762–775.

Page C. Going beyond the limits: Experiments with vocalization in the French chanson, 1340–1440 // EM. 1992. 22/3. P. 447–459.

Palisca C. V. Prima pratica // NG. 2001. 2. 20. P. 320.

Parakilas J. Classical music as popular music // JM. 1984. 3. P. 1–18.

Parrott A. The essential Bach choir. Boydell Press, 2000.

Pascall R., Weller P. Flexible tempo and nuancing in orchestral music: Understanding Brahms’s view of interpretation in his Second Piano Concerto and Fourth Symphony // Performing Brahms: Early evidence of performance style / ed. M. Musgrave and B. D. Sherman. Cambridge University Press, 2003. P. 220–243.

Payzant G. Glenn Gould: Music & mind // Journal of Aesthetics and Art Criticism. 1978. 37/4. P. 513–514.

Penin J.-P. Les Baroqueux ou le musicalement correct. Gründ, 2000.

Philip R. Early recordings and musical style. Cambridge University Press, 1992.

Philip R. Traditional habits of performance in early-twentieth-century recordings of Beethoven // Performing Beethoven / ed. R. Stowell. Cambridge University Press, 1994. P. 195–204.

Philip R. Brahms’s musical world: Balancing the evidence // Performing Brahms: Early evidence of performance style / ed. M. Musgrave and B. D. Sherman. Cambridge University Press, 2003. P. 349–372.

Philip R. Performing music in the age of recording. Yale University Press, 2004.

Playford J. A Breefe Introduction to the Skill of Musick. 1654.

Potter J. Vocal authority: Singing style and ideology. Cambridge University Press, 1998.

Powell N. Rhythmic freedom in the performance of French music from 1650 to 1735 / Ph.D. diss., Stanford University, 1958.

Praetorius M. Syntagmatis musici tomus tertius. Vol. 3. 1618/2, 1619. Repr. 1958.

Printz W. C. Phrynis Mitelenaeus, oder Satyrischer Componist. 1696.

Quantz J. J. Essai d’une méthode pour apprendre à jouer de la Flûte Traversière / Versuch einer Anweisung die Flöte traversiere zu Spielen. Voss, 1752.

Randel D. M. The canons in the musicological toolbox // Disciplining music: Musicology and its canons / ed. K. Bergeron and P. V. Bohlman. University of Chicago Press, 1992. P. 10–22

Ranum P. M. The harmonic orator: The phrasing and rhetoric of the melody in French Baroque airs. Pendragon, 2001.

Ratner L. G. Topical content in Mozart’s keyboard sonatas // EM. 1991. 19/4. P. 615–619.

Reidemeister P. Einführung // BJHM. 1996. 20. P. 6–19.

Restout D. Landowska on music. Stein and Day, 1964.

Riccoboni L. Pensées sur la déclamation. 1738.

Riemann H. Musikalische Dynamik und Agogik; Lehrbuch d. musikalischen Phrasirung. 1884.

Rilling H. The significance of Bach. Speech delivered at a reception in Stuttgart. 1985 / trans. Gordon Paine (доступно по ссылке: http://bachfest.uoregon.edu/bachground/bachbits/significance.shtml – проверено 1.02.2004).

Rooley A. Renaissance attitudes to performance: A contemporary application // Companion to contemporary musical thought / ed. J. Paynter et al. Vol. 2. Routledge, 1992. P. 948–960.

Rosen C. The Benefits of Authenticity // Critical Entertainments. 2000. Harvard University Press. P. 200–221.

Ross A. Escaping the museum // New Yorker. November 3, 2003. P. 100–101.

Ross A. Listen to this // New Yorker. 2004. February 16 and 23. P. 146–155.

Rousseau J.-J. Dictionnaire de musique. 1768.

Salmen W., ed. Der Socialstatus des Berufsmusikers vom 17. bis 19. Jahrhundert / trans. 1983 as The social status of the professional musician from the middle ages to the 19th century. Pendragon, 1971.

Salter L. Landowska, Wanda // NG. 2001. 2. 14. P. 225–226.

Samson J. Canon (III) // NG. 2001. 2. 5. P. 6–7.

Schafer R. M. E. T. A. Hoffmann and music. University of Toronto Press, 1975.

Schmied E. Interview with Frans Brüggen, 12 January 2000 // Goldberg Magazine (доступно по ссылке: http://www.goldbergweb.com/en/magazine/interviews/2000/06/512_print.php – проверено 15.11.2005).

Schmitz H.-P. Jazz und Alte Musik // Stimmen. 1949. 16; repr. Tibia. 1998. 4. P. 257–261.

Schmitz H.-P. Über die Wiedergabe der Musik Johann Sebastian Bachs. Knauer, 1951.

Schmitz H.-P. Die Kunst der Verzierung im 18. Jahrhundert. Bärenreiter, 1973.

Schmitz H.-P. Prinzipien der Aufführungspraxis Alter Musik. Knauer, [n. d.].

Schmitz H.-P., Ord-Hume A. W. J. G. Engramelle, Marie Dominique Joseph // 2001. NG. 2. 8. P. 247–248.

Schubert P. Authentic analysis // JM. 1994. 12/1. P. 3–18.

Schulenberg D. Music of the Baroque. Oxford University Press, 2001.

Schweitzer A. J. S. Bach / eng. trans. 1911 by E. Newman. Breitkopf & Hartel, 1905.

Scruton R. Kant, a very short introduction. Oxford University Press, 1982.

Scruton R. Expression // NG. 2001. 2. 8. P. 466.

Seedorf T. …Per imitar la voce // Tibia. 1994. 4. P. 288–292.

Shelemay K. K. Toward an ethnomusicology of the early music movement: Thoughts on bridging disciplines and musical worlds // Ethnomusicology. 2001. 45/1. P. 1–29.

Shepherd, J. Wicke P. Music and cultural theory. Polity Press, 1997.

Sherman B. D. Inside early music: Conversations with performers. Oxford University Press, 1997.

Sherman B. D. How different was Brahms’s playing style from our own? // Performing Brahms: Early evidence of performance style / ed. M. Musgrave and B. D. Sherman. Cambridge University Press, 2003. P. 1–10

Skowroneck M. «The harpsichord of Nicholas Lefebvre 1755»: The story of a forgery without intent to defraud // GSJ. 2002. 55. P. 4–14.

Skowroneck M. Cembalobau / Harpsichord construction. Bochinsky, 2003.

Small C. Musicking: The meanings of performing and listening. Wesleyan University Press, 1998.

Smith R. Harmonics, or the philosophy of musical sounds. 1749/2, 1759. Repr. 1966.

Sorrell N. Improvisation // Companion to contemporary musical thought / ed. J. Paynter et al. Vol. 2. Routledge, 1992. P. 776–786.

Sparshott F. E. The future of aesthetics: The 1996 Ryle lectures. University of Toronto Press, 1998.

Spitzer J. Authorship and attribution in western art music / Ph. D. diss., Cornell, 1983.

Spitzer J., Zaslaw N. The birth of the orchestra: History of an institution, 1650–1815. Oxford University Press, 2004.

Steinmetz D. C. The superiority of pre-critical exegesis // Theology Today. 1980. 37/1. P. 27–38.

Stevens D. Early music. 1997.

Strunk O. Source readings in music history. Norton, 1950.

Tarling J. The weapons of rhetoric. Corda Music Publications, 2004.

Taruskin R. The pastness of the present and the presence of the past // Authenticity and early music / ed. N. Kenyon. Oxford University Press, 1989. P. 137–207.

Taruskin R. Text and act: Essays on music and performance. Oxford University Press, 1995.

Taruskin R. The Oxford history of western music. Oxford University Press, 2005.

Temperley N. The limits of authenticity: A discussion // EM. 1984. 12/1. P. 16–20.

Thiemel M. Accentuation // NG. 2001. 2. 1. P. 49.

Thom P. The corded shell strikes back // GPS. 1983. 19. P. 93–108.

Thom P. For an audience: A philosophy of the performing arts. Temple University Press, 1993.

Thomson V. A Virgil Thomson Reader. Houghton Mifflin, 1981.

Toft R. The expressive pause: Punctuation, rests, and breathing in England, 1770–1850 // PPR. 1994. 7. P. 1–32, 199–232.

1 ... 81 82 83 84 85 86 87 88 89 ... 99
Перейти на страницу:

Комментарии

Обратите внимание, что комментарий должен быть не короче 20 символов. Покажите уважение к себе и другим пользователям!

Никто еще не прокомментировал. Хотите быть первым, кто выскажется?