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• catalog contributor b1927584.
• catalog created "c1988.".
• catalog date "1988".
• catalog date "c1988.".
• catalog dateCopyrighted "c1988.".
• catalog description "1. Background for the study : Point of view ; Invention and gradual acceptance of the piano : The musical need ; Cristofori's invention ; The piano's ultimate triumph. Some influences on performance : Music and rhetoric ; Empfindsamkeit (Sensibility) ; Sturm und Drang (Storm and Stress) ; Haydn and Mozart ; Beethoven and the rhetorical spirit ; Beyond Beethoven. The musical score : Changes in the classic era ; More-recent developments. The composers and their pianism : Haydn ; Mozart ; Clementi ; Beethoven ; Czerny's observations on Beethoven performance -- ".
• catalog description "11. Performing Beethoven's Bagatelle op. 126, no. 5 : Use of the instrument ; Dynamics and accentuation ; Slurs, articulation, and fingering ; Pedaling ; Tempo choice and tempo flexibility ; Repeat of the middle section ; Critical report.".
• catalog description "2. The fortepiano circa 1780-1820 : General characteristics of construction ; Expansion of keyboard compass and instrument size : Changes in range and construction ; Beethoven's extension of range ; The problem of "note restoration". Tone and touch ; "Mutations": hand stops, levers, and pedals ; English versus Viennese fortepianos : Actions and sounds ; Attempts to modify the Viennese action. Four classic composers and their fortepianos : Composer-performers and piano makers ; Haydn, Mozart, and Clementi ; Beethoven. Instruments played for this study : Viennese instruments ; German instruments ; English instruments ; Personal observations -- ".
• catalog description "3. Dynamics and accentuation : Playing classic period music on a modern grand piano ; Notation and interpretation of dynamic indications : Introduction ; Orientation to composers' notation and unfamiliar terms ; The scope of forte and piano ; Concinnity of dynamics and form ; Filling in the missing dynamics ; Terraced and graduated dynamics. Repeats : Repeats in sonata-allegro form ; Inner repeats in the minute or scherzo da capo. Evolution of calando and related terms : Origin, use by Haydn and Mozart ; Clementi's definition and usage ; Use of calando by Beethoven, Hummel, and Czerny. Qualitative (dynamic) accents : Indications for accents ; Composers' uses of accent indications ; Rinforzando. Types of accentuation ; Accentuation in Beethoven's music, the annotations to Cramer's etudes : The annotations to etudes IX and XII ; Schindler and Beethoven. An assessment of the annotations to Cramer's etudes -- ".
• catalog description "4. Use of the pedals : The damper pedal: introduction ; Types of pedaling : Rhythmic pedaling ; Syncopated or legato pedaling. Stylistic use of the damper pedal : Contemporary descriptions and uses ; Planning appropriate pedaling. The development of pedal indications and their ambiguities : England and France ; Germany and Austria. Special effects by Beethoven, Dussek, Clementi, and others : Indications that create distinctive timbres ; Indications that highlight form ; The "Moonlight" Sonata. Adjusting early pedal indications to the pianoforte ; The una corda pedal -- 5. Articulation and touch : Introduction ; Nonlegato, legato, and the prolonged touch : Nonlegato, tenuto, and heavy light execution ; A shift toward more legato ; Legato and legatissimo touches described in tutors ; The prolonged touch. The language of the slur : The expressivity of short slurs ; Longer legato groups and slurs. Do all slurs indicate attack and release? ; Dot, stroke and wedge".
• catalog description "6. Historical technique and fingering : Point of view ; Specific functions of technique : Role and position of the arm and hand ; Finger technique ; How to practice ; Staccato touches ; Playing the incise slur ; Repeated notes, octaves, and glissandos ; Summary. Increasing technical demands : Clementi's introduction and gradus ; Beethoven's exercises and other fragments. Fingerings by Clementi and Beethoven -- ".
• catalog description "7. Ornaments : Introduction ; Appoggiaturas and other one-note ornaments : Identification ; The short appoggiatura ; The long appoggiatura ; Afternotes and grace notes. Afternote and anticipatory performance of other short ornaments ; The trill : Overview ; Evolution of the trill start ; The trill start in works of Haydn, Mozart, and their contemporaries ; The trill start in works of Beethoven ; The short trill and the schneller. The mordent ; The turn and the "quick" turn : Haydn's notation of turns and mordents ; Interpretation of Haydn's turn "over the dot" ; Early and anticipatory turn realization ; Beethoven's ambiguous placement of the turn sign. The inverted turn ; The trilled turn ; The double appoggiatura ; The slide ; The arpeggio ; Improvised ornamentation -- 8. "Mixed meters" and dotted rhythms : Mixed meters : The theory ; Application of the theory. Double-dotting and overdotting : The theory ; Application of the theory -- ".
• catalog description "9. Choice of tempo : Elements in tempo change : Interaction of meter, note values, and tempo headings ; Practical results of these customs ; Additional elements in tempo choice. The basic tempo groups : Contemporary descriptions ; Which was the slowest tempo? ; Diminutive terms, andante and andantino ; The changing allegro ; The meaning of assai. Increasing individualization of tempo ; The metronome : Beethoven and the metronome ; Problems related to Beethoven's metronomizations ; Universal problems of metronomization ; The "hammerklavier" sonata. Six metronomizations of Beethoven's sonatas : The haslinger Gesamtausgabe, Czeryny and Moscheles as metronomizers ; The Gesamtausgabe and Czerny's other metronomizations compared ; Tempo trends in Europe ; Czerny's metronomizations of the 1840s and 1850s ; Moscheles's metronomizations, comparison with Czerny's ; Conclusion. ".
• catalog description "Bibliography: p. [487]-496.".
• catalog description "Fast and "moderate" minuets ; Beethoven's "moderate" minuets: his metronomizations, extrapolated tempos, and present practice ; Extrapolation of other tempos : For Beethoven ; For Clementi -- 10. Flexibility of rhythm and tempo : Introduction ; Rhetorical accentuation by agogic means : Agogic accentuation of notes ; Rhetorical rests ; The fermata. Ritardando and accelerando ; Sectional change of mood and tempo ; Eighteenth-century tempo rubato : Freely shifting contrametric rubato ; Contrametric rubato by uniform displacement ; Contrametric rubato in the piano works of Mozart, Haydn, and Beethoven ; Descriptions of contrametric rubato in French tutors. Tempo flexibility as tempo rubato : Early evidence of agogic rubato ; Agogic rubato in the piano works of Haydn, Mozart, and Clementi ; Agogic rubato in the piano works of Beethoven. Schindler and Czerny on tempo flexibility in Beethoven's piano music -- ".
• catalog extent "xxviii, 516 p. :".
• catalog hasFormat "Performance practices in classic piano music.".
• catalog identifier "0253343143".
• catalog isFormatOf "Performance practices in classic piano music.".
• catalog isPartOf "Music--scholarship and performance".
• catalog issued "1988".
• catalog issued "c1988.".
• catalog language "eng".
• catalog publisher "Bloomington : Indiana University Press,".
• catalog relation "Performance practices in classic piano music.".
• catalog subject "786.3/041 19".
• catalog subject "ML705 .R67 1988".
• catalog subject "Performance practice (Music) History 18th century.".
• catalog subject "Performance practice (Music) History 19th century.".
• catalog subject "Piano Performance.".
• catalog tableOfContents "1. Background for the study : Point of view ; Invention and gradual acceptance of the piano : The musical need ; Cristofori's invention ; The piano's ultimate triumph. Some influences on performance : Music and rhetoric ; Empfindsamkeit (Sensibility) ; Sturm und Drang (Storm and Stress) ; Haydn and Mozart ; Beethoven and the rhetorical spirit ; Beyond Beethoven. The musical score : Changes in the classic era ; More-recent developments. The composers and their pianism : Haydn ; Mozart ; Clementi ; Beethoven ; Czerny's observations on Beethoven performance -- ".
• catalog tableOfContents "11. Performing Beethoven's Bagatelle op. 126, no. 5 : Use of the instrument ; Dynamics and accentuation ; Slurs, articulation, and fingering ; Pedaling ; Tempo choice and tempo flexibility ; Repeat of the middle section ; Critical report.".
• catalog tableOfContents "2. The fortepiano circa 1780-1820 : General characteristics of construction ; Expansion of keyboard compass and instrument size : Changes in range and construction ; Beethoven's extension of range ; The problem of "note restoration". Tone and touch ; "Mutations": hand stops, levers, and pedals ; English versus Viennese fortepianos : Actions and sounds ; Attempts to modify the Viennese action. Four classic composers and their fortepianos : Composer-performers and piano makers ; Haydn, Mozart, and Clementi ; Beethoven. Instruments played for this study : Viennese instruments ; German instruments ; English instruments ; Personal observations -- ".
• catalog tableOfContents "3. Dynamics and accentuation : Playing classic period music on a modern grand piano ; Notation and interpretation of dynamic indications : Introduction ; Orientation to composers' notation and unfamiliar terms ; The scope of forte and piano ; Concinnity of dynamics and form ; Filling in the missing dynamics ; Terraced and graduated dynamics. Repeats : Repeats in sonata-allegro form ; Inner repeats in the minute or scherzo da capo. Evolution of calando and related terms : Origin, use by Haydn and Mozart ; Clementi's definition and usage ; Use of calando by Beethoven, Hummel, and Czerny. Qualitative (dynamic) accents : Indications for accents ; Composers' uses of accent indications ; Rinforzando. Types of accentuation ; Accentuation in Beethoven's music, the annotations to Cramer's etudes : The annotations to etudes IX and XII ; Schindler and Beethoven. An assessment of the annotations to Cramer's etudes -- ".
• catalog tableOfContents "4. Use of the pedals : The damper pedal: introduction ; Types of pedaling : Rhythmic pedaling ; Syncopated or legato pedaling. Stylistic use of the damper pedal : Contemporary descriptions and uses ; Planning appropriate pedaling. The development of pedal indications and their ambiguities : England and France ; Germany and Austria. Special effects by Beethoven, Dussek, Clementi, and others : Indications that create distinctive timbres ; Indications that highlight form ; The "Moonlight" Sonata. Adjusting early pedal indications to the pianoforte ; The una corda pedal -- 5. Articulation and touch : Introduction ; Nonlegato, legato, and the prolonged touch : Nonlegato, tenuto, and heavy light execution ; A shift toward more legato ; Legato and legatissimo touches described in tutors ; The prolonged touch. The language of the slur : The expressivity of short slurs ; Longer legato groups and slurs. Do all slurs indicate attack and release? ; Dot, stroke and wedge".
• catalog tableOfContents "6. Historical technique and fingering : Point of view ; Specific functions of technique : Role and position of the arm and hand ; Finger technique ; How to practice ; Staccato touches ; Playing the incise slur ; Repeated notes, octaves, and glissandos ; Summary. Increasing technical demands : Clementi's introduction and gradus ; Beethoven's exercises and other fragments. Fingerings by Clementi and Beethoven -- ".
• catalog tableOfContents "7. Ornaments : Introduction ; Appoggiaturas and other one-note ornaments : Identification ; The short appoggiatura ; The long appoggiatura ; Afternotes and grace notes. Afternote and anticipatory performance of other short ornaments ; The trill : Overview ; Evolution of the trill start ; The trill start in works of Haydn, Mozart, and their contemporaries ; The trill start in works of Beethoven ; The short trill and the schneller. The mordent ; The turn and the "quick" turn : Haydn's notation of turns and mordents ; Interpretation of Haydn's turn "over the dot" ; Early and anticipatory turn realization ; Beethoven's ambiguous placement of the turn sign. The inverted turn ; The trilled turn ; The double appoggiatura ; The slide ; The arpeggio ; Improvised ornamentation -- 8. "Mixed meters" and dotted rhythms : Mixed meters : The theory ; Application of the theory. Double-dotting and overdotting : The theory ; Application of the theory -- ".
• catalog tableOfContents "9. Choice of tempo : Elements in tempo change : Interaction of meter, note values, and tempo headings ; Practical results of these customs ; Additional elements in tempo choice. The basic tempo groups : Contemporary descriptions ; Which was the slowest tempo? ; Diminutive terms, andante and andantino ; The changing allegro ; The meaning of assai. Increasing individualization of tempo ; The metronome : Beethoven and the metronome ; Problems related to Beethoven's metronomizations ; Universal problems of metronomization ; The "hammerklavier" sonata. Six metronomizations of Beethoven's sonatas : The haslinger Gesamtausgabe, Czeryny and Moscheles as metronomizers ; The Gesamtausgabe and Czerny's other metronomizations compared ; Tempo trends in Europe ; Czerny's metronomizations of the 1840s and 1850s ; Moscheles's metronomizations, comparison with Czerny's ; Conclusion. ".
• catalog tableOfContents "Fast and "moderate" minuets ; Beethoven's "moderate" minuets: his metronomizations, extrapolated tempos, and present practice ; Extrapolation of other tempos : For Beethoven ; For Clementi -- 10. Flexibility of rhythm and tempo : Introduction ; Rhetorical accentuation by agogic means : Agogic accentuation of notes ; Rhetorical rests ; The fermata. Ritardando and accelerando ; Sectional change of mood and tempo ; Eighteenth-century tempo rubato : Freely shifting contrametric rubato ; Contrametric rubato by uniform displacement ; Contrametric rubato in the piano works of Mozart, Haydn, and Beethoven ; Descriptions of contrametric rubato in French tutors. Tempo flexibility as tempo rubato : Early evidence of agogic rubato ; Agogic rubato in the piano works of Haydn, Mozart, and Clementi ; Agogic rubato in the piano works of Beethoven. Schindler and Czerny on tempo flexibility in Beethoven's piano music -- ".
• catalog title "Performance practices in classic piano music : their principles and applications / Sandra P. Rosenblum.".
• catalog type "History. fast".
• catalog type "text".