The End of Early Music
A Period Performer's History of Music for the Twenty-First Century
Published on 23. August 2007
Book
Hardback
304 pages
978-0-19-518987-2 (ISBN)
Description
Part history, part explanation of early music, this book also plays devil's advocate, criticizing current practices and urging experimentation. Haynes, a veteran of the movement, describes a vision of the future that involves improvisation, rhetorical expression, and composition. Written for musicians and non-musicians alike.
Reviews / Votes
Haynes always writes as the insider performer, and his writing is fresh and direct...likely to be enjoyed by most musicians. * David Ledbetter, British Clavichord Society * Bruce's arguments are rich, not obvious, and very convincing. Read Bruce's ideas: applaud, question, be infuriated. But you will never think about early music as you did before. * Clifford Bartlett, Early Music Review *More details
Language
English
Place of publication
New York
United States
Target group
Adult education
Professional and scholarly
Illustrations
17 music examples
Dimensions
Height: 240 mm
Width: 161 mm
Thickness: 21 mm
Weight
625 gr
ISBN-13
978-0-19-518987-2 (9780195189872)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Bruce Haynes
The End of Early Music
A Period Performer's History of Music for the Twenty-First Century
E-Book
07/2007
1st Edition
OUP eBook
€34.99
Available for download
Bruce Haynes
The End of Early Music
A Period Performer's History of Music for the Twenty-First Century
E-Book
07/2007
1st Edition
OUP eBook
€34.99
Available for download
Person
Recently retired as a performer, Bruce Haynes worked for many years in Holland. He introduced the hautboy into the Dutch music curriculum, teaching at the Royal Conservatory. Currently, he is Associate Professor in the Faculty of Music at the University of Montreal. He has published widely on the history of the oboe and performing pitch standards.
Content
List of Musical Examples
List of Recorded Excerpts
Preface: If this Muses Come to Call
Acknowledgements
Part I: Performing Styles
One: Performing Style: When You Say Something Differently, You Say Something Different
Two: Mind the Gap: Current Styles
Three: Mainstream Style: "Chops, but no Soul"
Part II: How Romantic Are We?
Four: Classical Music's Coarse Caress
Five: The Transparent Performer
Six: Changing Meanings, Permanent Symbols
Part III: Anachronism and Authenticity
Seven: Original Ears
Eight: Ways of Copying the Past
Nine: The Medium is the Message: Period Instruments
Ten: Baroque Oratory Compared with Romantic Autobiography
Eleven: Gestural Phrasing
Part V: The End of "Early" Music
Twelve: Passive and Active Musicking: Stop Staring and Grow Your Own
Thirteen: Mainstream Musicking as "Early Music"
Fourteen: Perpetual Revolution
Notes
List of Bibliographic Abbreviations
Bibliography
Index
List of Recorded Excerpts
Preface: If this Muses Come to Call
Acknowledgements
Part I: Performing Styles
One: Performing Style: When You Say Something Differently, You Say Something Different
Two: Mind the Gap: Current Styles
Three: Mainstream Style: "Chops, but no Soul"
Part II: How Romantic Are We?
Four: Classical Music's Coarse Caress
Five: The Transparent Performer
Six: Changing Meanings, Permanent Symbols
Part III: Anachronism and Authenticity
Seven: Original Ears
Eight: Ways of Copying the Past
Nine: The Medium is the Message: Period Instruments
Ten: Baroque Oratory Compared with Romantic Autobiography
Eleven: Gestural Phrasing
Part V: The End of "Early" Music
Twelve: Passive and Active Musicking: Stop Staring and Grow Your Own
Thirteen: Mainstream Musicking as "Early Music"
Fourteen: Perpetual Revolution
Notes
List of Bibliographic Abbreviations
Bibliography
Index