The Italian tempo indications in the British and American performance practices of the Baroque, Rococo and Classicism

Authors

Abstract

The article discusses the most important and previously less complexly studied by Russian scholars problems — the influence of the prescribed Italian terms by a composer on tempo and affect in performance. The work is based on numerous historical documents and materials, most of which have not so far been considered and examined by Russian and foreign scientists.

Keywords:

tempo, Italian tempo indications, treatises on music, performance practice

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Author Biographies

Alexei A. Panov, Saint Petersburg State University

Dr. Habil., Professor, Director of the Department of Organ, Harpsichord and Carillon, Vice-Dean of the Faculty of Arts, Member of the Board of the Russian National Society for Theory of Music

Ivan V. Rosanoff, Saint Petersburg State University, The Rimsky-Korsakov Saint Petersburg State Conservatory

Dr. Habil., Professor of the Department of Organ, Harpsichord and Carillon at the Saint Petersburg State University; Professor of the Department of Organ and Harpsichord at the Rimsky-Korsakov Saint Petersburg State Conservatory, Honored worker of the Higher School of the Russian Federation

References

Источники и литература

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References

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18. Tosi P. F. Observations on the Florid Song; or, Sentiments on the Ancient and Modern Singers, Written in Italian…Transl. into English by Nr. Galliard, Useful for all Performers, Instrumental as well as Vocal. To which are added Explanatory Annotations, and Examples in Musick. London, J. Wilcox, 1743.

19. Steele J. An essay towards establishing the melody and measure of speech to be expressed and perpetuated by peculiar symbols. London, W. Bowyer and J. Nichols, 1775.

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21. Anonym. Playing the Harpsichord, Spinnet or Piano Forte, made easy by NEW INSTRUSTIONS wherein the Italian manner of Fingering is shewn by variety of Examples, with choice Lessons selected from the most Eminent Masters, proper for Beginners, and very useful for proficients on those Instruments or the ORGAN with concise Rules for playing a good Thoro’ Bass. … [With a] Dictionary explaining such words as generally occur in Music. London, Longman and Broderip, [ca. 1785].

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23. Geminiani F. New and Compleat Instructions For The Violin, Containing the Easiest and best Methods for Learners to Obtain A Proficiency, with some useful Direstions, Lessons, Graces, &c. London, Longman and Broderip, [ca. 1790].

24. Callcott J. W. An Explanation of the Notes, Marks, Words, & c, Used in Music… London, the Author, 1792.

25. Wragg J. THE OBOE PRECEPTOR; or the Art of Playing the OBOE, Rendered perfectly easy to every Capacity, in which every Instruction relative to that Instrument is progressively arranged; the different modes of FINGERING fully exemplified, & the whole systematically laid down in so plain and easy a Manner, as to require No ASSISTANCE from a MASTER. London, the Author, 1792.

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28. Kollmann A. F. C. The first Beginning on the Piano Forte, according to an Improved Method of teaching Beginners, Containing an explanatory Introduction, The Rudiments of the Art of playing on Key’d Instruments, & a series of progressive Lessons and Sonatinas. The whole being consrtucted so that any Person of common capacity who never touched an Instrument or knew a Note before, may in the very 1.st Lesson learn to play something by Notes; & calculated for the use of Grown Persons as well as of Children who can reach more than a 6th. on the Instrument. London, the author, [ca. 1796].

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31. Dom Bedos de Celles F. L’Art Du Facteur D’Orgues. Paris, L. F. Delatour, 1766–1778.

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39. The philosophical magazine: comprehending the various branches of science, the liberal and fine arts, geology, agriculture, manufactures and commerce Ed. by A. Tilloch. London, Richard Taylor and Co., 1810, vol. XXXVI.

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41. Pilkington H. W. A Musical Dictionary, comprising the etymology and different meanings of all the terms that most frequently occur in modern composition. Boston, Watson & Bangs, 1812.

42. Woakes W. H. A Catechism of Music; Being a Familiar and Easy Introduction to the Rudiments of that Science: Intended to assist the practice, and facilitate the progress of The Learner. Together with observations on thorough bass, and a copious dictionary of musical phrases. Hereford, Watkins and Wright, 1817.

43. Shaw O. Sacred melodies, selected from Handel, Haydn, Mozart, Beethoven, and others, with several original compositions, arranged with an accompaniment for the piano-forte or organ. Providence, Miller & Hutchens, 1818.

44. Keith R. W. A Violin Preceptor On an Entire New Principle Calculated to lay a regular & Stable foundation For Young Practitioners… London, J. Jaincev, J. Longman, [ca. 1820].

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Published

2012-11-30

How to Cite

Panov, A. A. ., & Rosanoff, I. V. . (2012). The Italian tempo indications in the British and American performance practices of the Baroque, Rococo and Classicism. Vestnik of Saint Petersburg University. Arts, 2(4), 82–127. Retrieved from https://artsjournal.spbu.ru/article/view/1578

Issue

Section

Music

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