The Notation Is Not the Music

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Barthold Kuijken. The Notation Is Not the Music

The Notation Is Not the Music

CONTENTS

PREFACE

1

THE UNDERLYING PHILOSOPHY

2

MY WAY TOWARD RESEARCH

3

THE LIMITS OF NOTATION

4

THE NOTATION, ITS PERCEPTION, AND RENDERING

1. PITCH

2. TEMPERAMENT

3. TEMPO AND RUBATO

4. RHYTHM

5. PHRASING

6. ARTICULATION

7. DYNAMICS

8. ORCHESTRATION—INSTRUMENTATION—ARRANGEMENT

9. BASSO CONTINUO

10. ORNAMENTATION

11. CADENZAS

12. IMPROVISATION

13. MANUSCRIPT—PRINT—REVISION—MODERN EDITIONS

14. THE AUDIENCE’S ATTITUDE

15. THE PERFORMER’S ATTITUDE

16. EMOTION AND AFFECT

17. THE MIRROR

18. THE TWO-FOLD CONCEPT OF AUTHENTICITY

5

OUTLOOK

SOURCES OF INSPIRATION

BIBLIOGRAPHY

PRIMARY SOURCES

SECONDARY SOURCES

JOURNALS

WEBSITES

SELECTIVE INDEX

COMPOSERS

CONCEPTS

Отрывок из книги

PUBLICATIONS OF THE

EARLY MUSIC INSTITUTE

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Barbara Kallaur, for the patient and dedicated editing of my English text.

• Solfège and instrumental technique aimed at a literal, precise reading and rendering of the notation. Rhythmic freedom was not encouraged; I suppose this was judged too romantic for the post–World War II neue Sachlichkeit (New Objectivity). Historical treatises such as Quantz or Hotteterre, on the contrary, showed that the shortest note values in a given piece were frequently treated with considerable freedom and that rubato did not have the same meaning as today.

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