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The book description for the previously published "Ornamentation and Improvisation in Mozart" is not yet available.

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This lovely collection of 40 pieces shows practical application of ornamentation in late Renaissance/early Baroque music through high Baroque music...

This book is a sequel to Frederick Neumann's Ornamentation in Baroque and Post-Baroque Music, With Special Emphasis on J.S. Bach (Princeton, 1978). In the present volume, the first work on this subject for Mozart's music, the author continues his important contributions to the search for historically correct performance practices, and to the liberation of the performer from improperly conceived and overly restrictive interpretation of musical scores. The first part of this book attempts to free ornamentation in Mozart from rigorism that has resulted from confusing the pure abstraction of ornament tables with concrete musical situations. The second part deals with pitches that were not written in the score yet often intended to be added when Mozart left "white spots" in his notation. These additions range from single notes to lengthy cadenzas. The problem addressed is the question of where such additions are possible or necessary and how they might best be designed.Professor Neumann draws on an immense knowledge of the literature written during Mozart's time and on his own comprehension of the subtleties of Mozart's music and musical styles. Refusing to interpret the sources dogmatically, he frees performers of Mozart from the rigid princples too often imposed by modern scholars.Frederick Neumann is Professor of Music Emeritus at the University of Richmond.Originally published in 1986.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book is a sequel to Frederick Neumann's Ornamentation in Baroque and Post-Baroque Music, With Special Emphasis on J.S. Bach (Princeton, 1978). In the present volume, the first work on this subject for Mozart's music, the author continues his important contributions to the search for historically correct performance practices, and to the liberation of the performer from improperly conceived and overly restrictive interpretation of musical scores. The first part of this book attempts to free ornamentation in Mozart from rigorism that has resulted from confusing the pure abstraction of ornament tables with concrete musical situations. The second part deals with pitches that were not written in the score yet often intended to be added when Mozart left "white spots" in his notation. These additions range from single notes to lengthy cadenzas. The problem addressed is the question of where such additions are possible or necessary and how they might best be designed.Professor Neumann draws on an immense knowledge of the literature written during Mozart's time and on his own comprehension of the subtleties of Mozart's music and musical styles. Refusing to interpret the sources dogmatically, he frees performers of Mozart from the rigid princples too often imposed by modern scholars.Frederick Neumann is Professor of Music Emeritus at the University of Richmond.Originally published in 1986.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Everything you want to know about embellishing Music of the Baroque Era is taught systematically and well-founded here: from the different "essential ornaments" such as trill, mordent, appoggiatura, slide, etc. up to the free melodic ornaments, cadenzas and improvised grounds. In addition, you will find valuable information, tips, constructive exercises, historical examples and much more. Exclusively you get a live recorded harpsichord-basso continuo accompaniment for all exercises, which supports you harmonically and rhythmically. For pupils, students, amateurs and professional musicians

The book description for the previously published "Ornamentation and Improvisation in Mozart" is not yet available.

Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period.The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.

Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. Frederick Neumann, himself a violinist and conductor, questions the validity of the rigid principles applied to their performance. In this controversial work, available for the first time in paperback, he argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period.The author takes an entirely new look at ornamentation, and particularly that of J. S. Bach. He draws on extensive research in England, France, Germany, Italy, and the United States to show that prevailing interpretations are based on inadequate evidence. These restrictive interpretations have been far-reaching in their effect on style. By questioning them, this work continues to stimulate a reorientation in our understandiing of Baroque and post-Baroque music.

The book description for the previously published "Ornamentation and Improvisation in Mozart" is not yet available.

The book description for the previously published "Ornamentation and Improvisation in Mozart" is not yet available.

(EMB). This lovely collection of 40 pieces shows practical application of ornamentation in late Renaissance/early Baroque music through high Baroque music, in Italian, French, English and German styles. With an in-depth introductory article.

Unread book in perfect condition.

This anthology's magnificent illustrations and decorations in the medieval style were created by famed artist Walter Crane in the 1890s to illustrate a sumptuous multivolume limited edition of The Faerie Queene, Edmund Spenser’s sixteenth-century allegorical epic poem. A tribute to Queen Elizabeth I, the poem celebrates holiness, temperance, chastity, friendship, and other virtues in verse tales of knightly adventure, courtly love, and acts of gallantry. Crane created these 352 magnificent illustrations and decorations in the rich nineteenth-century style of neo-medievalism made famous by William Morris and his Kelmscott Press, with which Crane was associated.Crane's designs have been meticulously reproduced here, including striking images of gallant knights in armor, demure maidens, fearsome dragons, unicorns, angels, and a host of decorative elements — all displayed in a rich variety of full-page plates, finely detailed borders, and exquisite vignettes. Also included are charming headpieces, tailpieces, decorative initials, and the exquisite typography that originally appeared within the borders and other areas.Sure to delight any admirer of Crane's dazzling style, this splendid archive, skillfully arranged by Carol Belanger Grafton, will also provide a wealth of inspiration and immediately usable graphics for artists and illustrators alike.

(EMB). This lovely collection of 40 pieces shows practical application of ornamentation in late Renaissance/early Baroque music through high Baroque music, in Italian, French, English and German styles. With an in-depth introductory article.

Unread book in perfect condition.

One hundred pages of beautiful tailpieces, decorative letters, elaborate floral borders and frames, samples of body type, and other illustrations contain all 87 Burne-Jones woodcuts and every Morris border and decoration. Introduction by Fridolf Johnson. A magnificent capsulation of fine printing beauty for browsing or for use by commercial artists. 

The Sound of Medieval Song is a study of how both scared and secular music were actually sung during the Middle Ages. The source of the information is the actual notation in the early manuscripts as well as statements found in approximately 50 theoretical treatises written between the years 600-1500. The writings describe various singing practices and both desirable and undesirable vocal techniques, providing a fairly accurate picture of how singers approached the music of the period.

Highly regarded in architecture for inspiring the Chicago School and the Prairie School, Louis Sullivan was an unwilling instigator of the method of facade composition--later influenced by Frank Lloyd Wright, William Gray Purcell, and George G. Elmslie--that came to be known as Sullivanesque. Decorative enhancements with botanical and animal themes, Sullivan's distinctive ornamentation mitigated the hard geometries of the buildings he designed, coinciding with his "form follows function" aesthetic.   Masterfully framed by the author's photographs of Sullivanesque buildings in Chicago and throughout the Midwest, Ronald E. Schmitt's in-depth exploration of the Sullivanesque tells the story of its evolution from Sullivan's intellectual and aesthetic foundations to its place as a form of commercial vernacular. The book also includes an inventory of Sullivanesque buildings.

In this book, British Nigerian artist Yinka Shonibare (born 1962) challenges conceptions of "good taste," presenting works from the Arts Council Collection―from sculpture and painting to wallpaper and handbags―that provocatively oppose the anti-decorative stance of Adolf Loos' 1908 Ornament and Crime.