This guide to understanding ornamentation in each era of music includes information on how to understand and remain faithful to the composer's intention, how many and which notes to use in each ornament, how to integrate ornaments smoothly into a performance, and simple strategies and systems for realizing and practicing ornaments. A synthesis of years of scholarly research resulting in a logical, easy to follow, and accurate volume.

 

Title
Foreword
Preface
Chapter 1 -- Answering Your Questions about Ornamentation
What is ornamentation?
When did the practice of ornamenting melody begin?
Why does this book begin with the Baroque era?
When did the Baroque era begin?
What is an ornament?
How does an ornament make music more expressive?
How is an ornament written?
What is the most basic ornament?
How is the long appoggiatura written?
How is the long appoggiatura performed?
What are the other most common ornaments and how are they constructed?
How has the trill been treated differently?
What was the effect of having trills begin in two different ways?
Is there a fundamental principle to follow in realizing an ornament?
Is it necessary to understand the interrelationships of art, architecture and music to realize ornaments correctly?
Summary
Chapter 2 -- An Overview of the Influence of Art and Architecture on the Development of Music
What is the interrelationship among art, architecture and music in the Baroque era?
How have art, architecture and music in the Classical era changed from that of the Baroque era?
How have art, architecture and music in the Romantic era changed from that of the Classical era?
How have art, architecture and music in the Contemporary era changed from that of the Romantic era?
Chapter 3 -- Ornamentation in the Baroque Era (1600--1750)
Who was the most influential person on the subject of ornamentation in the Baroque era?
Whose system for realizing Baroque ornaments is most commonly used today?
What is the key to understanding the table of ornaments?
What are the ornaments?
long appoggiatura
trill
mordent
trill and mordent
ascending trill
descending trill
ascending trill with mordent as a termination
descending trill with mordent as a termination
appoggiatura and mordent
appoggiatura and trill (table of ornaments, example 12)
appoggiatura and trill (table of ornaments, example 13)
turn
other ornaments
Does Bach give any instructions for applying the table of ornaments?
Summary
Chapter 4 -- Ornamentation in the Classical Era (1750--1830)
Who were the most influential persons on the subject of ornamentation in the Classical era?
Did ornamentation in the Classical era differ from that of the Baroque era?
How was the sign for the appoggiatura altered?
How was the trill performed?
What is the short appoggiatura?
Summary
Chapter 5 -- Ornamentation in the Romantic Era (1830--1900)
Who was the most influential person on the subject of ornamentation in the Romantic era?
What happened as a result of Hummel’s proposals?
How are ornaments realized in the Romantic era?
acciaccatura
turn
the trill in the music of Beethoven, Chopin, Field, Schubert and Weber
the trill in the music of Brahms, Grieg, Liszt, Mendelssohn and Schumann
mordent
Summary
Chapter 6 -- Ornamentation in the Contemporary Era (1900--present)
Who is the most influential person on the subject of ornamentation in the present era?
How are ornaments indicated?
Chapter 7 -- A Procedure for Realizing Ornaments and Strategies for Effective Practicing
A Procedure for Realizing an Ornament
Steps for Practicing Ornaments
A Teaching Strategy for Integrating a Fioritura Smoothly into a Performance
Summary
Chapter 8 -- Adding Ornamentation to Baroque Music
Bibliography

我的標籤