How composers viewed performers additions
Identifieur interne : 001276 ( Istex/Corpus ); précédent : 001275; suivant : 001277How composers viewed performers additions
Auteurs : Beverly JeroldSource :
- Early Music [ 0306-1078 ] ; 2008.
Abstract
Historically informed performances of 18th-century vocal works generally add embellishment to the composers notes. While evidence does exist for this practice, certain factors have not been considered in the modern literature. One is the difference between skeletal and finished writing. Skeletal works, written mainly by secondary composers, lack any embellishment or figuration; thus pieces in this style, for which performers had to supply the ornamentation, have mostly vanished. Finished compositions, on the other hand, were to be sung as written. Gradually a fashion arose, particularly after the mid-century, for re-embellishing these finished pieces. In an effort to protect their work, composers added more notes to eliminate any opportunity for singers improvisations. Or a composer might leave an occasional bar unadorned to give the singer an opportunity to embellish, thereby keeping the peace while preserving his own work. This article will present views about singers ornamentation from the composers Johann Kuhnau, Johann Joseph Fux, Georg Frideric Handel, Johann Adolph Hasse, Christoph Willibald Gluck, Wolfgang Amadeus Mozart, Vincenzo Manfredini, Andr-Ernest-Modeste Grtry and Joseph Haydn.
Url:
DOI: 10.1093/em/cam100
Links to Exploration step
ISTEX:29C51EE81BA49FDE04694F5857D7C5765EC29B56Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>How composers viewed performers additions</title><author wicri:is="90%"><name sortKey="Jerold, Beverly" sort="Jerold, Beverly" uniqKey="Jerold B" first="Beverly" last="Jerold">Beverly Jerold</name><affiliation><mods:affiliation>Beverly Jerold's writings have appeared recently in Eighteenth-Century Music, BACH: Journal of the Riemenschneider Institute, The Musical Times, Journal of the American Musicological Society and Early Music. The Dutch Journal of Music Theory published her Intonation standards and equal temperament (May, 2007).</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: Bvjerold@aol.com</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:29C51EE81BA49FDE04694F5857D7C5765EC29B56</idno><date when="2008" year="2008">2008</date><idno type="doi">10.1093/em/cam100</idno><idno type="url">https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">001276</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">How composers viewed performers additions</title><author wicri:is="90%"><name sortKey="Jerold, Beverly" sort="Jerold, Beverly" uniqKey="Jerold B" first="Beverly" last="Jerold">Beverly Jerold</name><affiliation><mods:affiliation>Beverly Jerold's writings have appeared recently in Eighteenth-Century Music, BACH: Journal of the Riemenschneider Institute, The Musical Times, Journal of the American Musicological Society and Early Music. The Dutch Journal of Music Theory published her Intonation standards and equal temperament (May, 2007).</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: Bvjerold@aol.com</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Early Music</title><idno type="ISSN">0306-1078</idno><idno type="eISSN">1741-7260</idno><imprint><publisher>Oxford University Press</publisher><date>2008</date><biblScope unit="volume">36</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="95">95</biblScope><biblScope unit="page" to="110">110</biblScope></imprint><idno type="ISSN">0306-1078</idno></series><idno type="istex">29C51EE81BA49FDE04694F5857D7C5765EC29B56</idno><idno type="DOI">10.1093/em/cam100</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0306-1078</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">Historically informed performances of 18th-century vocal works generally add embellishment to the composers notes. While evidence does exist for this practice, certain factors have not been considered in the modern literature. One is the difference between skeletal and finished writing. Skeletal works, written mainly by secondary composers, lack any embellishment or figuration; thus pieces in this style, for which performers had to supply the ornamentation, have mostly vanished. Finished compositions, on the other hand, were to be sung as written. Gradually a fashion arose, particularly after the mid-century, for re-embellishing these finished pieces. In an effort to protect their work, composers added more notes to eliminate any opportunity for singers improvisations. Or a composer might leave an occasional bar unadorned to give the singer an opportunity to embellish, thereby keeping the peace while preserving his own work. This article will present views about singers ornamentation from the composers Johann Kuhnau, Johann Joseph Fux, Georg Frideric Handel, Johann Adolph Hasse, Christoph Willibald Gluck, Wolfgang Amadeus Mozart, Vincenzo Manfredini, Andr-Ernest-Modeste Grtry and Joseph Haydn.</div></front></TEI><istex><corpusName>oup</corpusName><author><json:item><name>Beverly Jerold</name><affiliations><json:string>Beverly Jerold's writings have appeared recently in Eighteenth-Century Music, BACH: Journal of the Riemenschneider Institute, The Musical Times, Journal of the American Musicological Society and Early Music. The Dutch Journal of Music Theory published her Intonation standards and equal temperament (May, 2007).</json:string><json:string>E-mail: Bvjerold@aol.com</json:string></affiliations></json:item></author><subject><json:item><lang><json:string>eng</json:string></lang><value>PERFORMING MATTERS</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>ornamentation</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>embellishment</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>improvisation</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Johann Kuhnau</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Johann Joseph Fux</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Georg Frideric Handel</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Johann Adolph Hasse</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Christoph Willibald Gluck</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Wolfgang Amadeus Mozart</value></json:item><json:item><lang><json:string>eng</json:string></lang></json:item><json:item><lang><json:string>eng</json:string></lang><value>Andr-Ernest-Modeste Grtry</value></json:item><json:item><lang><json:string>eng</json:string></lang><value>Joseph Haydn</value></json:item></subject><language><json:string>eng</json:string></language><abstract>Historically informed performances of 18th-century vocal works generally add embellishment to the composers notes. While evidence does exist for this practice, certain factors have not been considered in the modern literature. One is the difference between skeletal and finished writing. Skeletal works, written mainly by secondary composers, lack any embellishment or figuration; thus pieces in this style, for which performers had to supply the ornamentation, have mostly vanished. Finished compositions, on the other hand, were to be sung as written. Gradually a fashion arose, particularly after the mid-century, for re-embellishing these finished pieces. In an effort to protect their work, composers added more notes to eliminate any opportunity for singers improvisations. Or a composer might leave an occasional bar unadorned to give the singer an opportunity to embellish, thereby keeping the peace while preserving his own work. This article will present views about singers ornamentation from the composers Johann Kuhnau, Johann Joseph Fux, Georg Frideric Handel, Johann Adolph Hasse, Christoph Willibald Gluck, Wolfgang Amadeus Mozart, Vincenzo Manfredini, Andr-Ernest-Modeste Grtry and Joseph Haydn.</abstract><qualityIndicators><score>7.064</score><pdfVersion>1.3</pdfVersion><pdfPageSize>536 x 697 pts</pdfPageSize><refBibsNative>false</refBibsNative><keywordCount>13</keywordCount><abstractCharCount>1212</abstractCharCount><pdfWordCount>8277</pdfWordCount><pdfCharCount>51200</pdfCharCount><pdfPageCount>15</pdfPageCount><abstractWordCount>172</abstractWordCount></qualityIndicators><title>How composers viewed performers additions</title><genre><json:string>research-article</json:string></genre><host><volume>36</volume><pages><last>110</last><first>95</first></pages><issn><json:string>0306-1078</json:string></issn><issue>1</issue><genre></genre><language><json:string>unknown</json:string></language><eissn><json:string>1741-7260</json:string></eissn><title>Early Music</title></host><categories><wos><json:string>MUSIC</json:string></wos></categories><copyrightDate>2008</copyrightDate><doi><json:string>10.1093/em/cam100</json:string></doi><id>29C51EE81BA49FDE04694F5857D7C5765EC29B56</id><fulltext><json:item><original>true</original><mimetype>application/pdf</mimetype><extension>pdf</extension><uri>https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/fulltext/pdf</uri></json:item><json:item><original>false</original><mimetype>application/zip</mimetype><extension>zip</extension><uri>https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a">How composers viewed performers additions</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>Oxford University Press</publisher><availability><p>OUP</p></availability><date>2008</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a">How composers viewed performers additions</title><author><persName><forename type="first">Beverly</forename><surname>Jerold</surname></persName><email>Bvjerold@aol.com</email><affiliation>Beverly Jerold's writings have appeared recently in Eighteenth-Century Music, BACH: Journal of the Riemenschneider Institute, The Musical Times, Journal of the American Musicological Society and Early Music. The Dutch Journal of Music Theory published her Intonation standards and equal temperament (May, 2007).</affiliation></author></analytic><monogr><title level="j">Early Music</title><idno type="pISSN">0306-1078</idno><idno type="eISSN">1741-7260</idno><imprint><publisher>Oxford University Press</publisher><date>2008</date><biblScope unit="volume">36</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="95">95</biblScope><biblScope unit="page" to="110">110</biblScope></imprint></monogr><idno type="istex">29C51EE81BA49FDE04694F5857D7C5765EC29B56</idno><idno type="DOI">10.1093/em/cam100</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2008</date></creation><langUsage><language ident="en">en</language></langUsage><abstract><p>Historically informed performances of 18th-century vocal works generally add embellishment to the composers notes. While evidence does exist for this practice, certain factors have not been considered in the modern literature. One is the difference between skeletal and finished writing. Skeletal works, written mainly by secondary composers, lack any embellishment or figuration; thus pieces in this style, for which performers had to supply the ornamentation, have mostly vanished. Finished compositions, on the other hand, were to be sung as written. Gradually a fashion arose, particularly after the mid-century, for re-embellishing these finished pieces. In an effort to protect their work, composers added more notes to eliminate any opportunity for singers improvisations. Or a composer might leave an occasional bar unadorned to give the singer an opportunity to embellish, thereby keeping the peace while preserving his own work. This article will present views about singers ornamentation from the composers Johann Kuhnau, Johann Joseph Fux, Georg Frideric Handel, Johann Adolph Hasse, Christoph Willibald Gluck, Wolfgang Amadeus Mozart, Vincenzo Manfredini, Andr-Ernest-Modeste Grtry and Joseph Haydn.</p></abstract><textClass><keywords scheme="keyword"><list><item><term>PERFORMING MATTERS</term></item></list></keywords></textClass><textClass><keywords scheme="keyword"><list><head>Keywords</head><item><term>ornamentation</term></item><item><term>embellishment</term></item><item><term>improvisation</term></item><item><term>Johann Kuhnau</term></item><item><term>Johann Joseph Fux</term></item><item><term>Georg Frideric Handel</term></item><item><term>Johann Adolph Hasse</term></item><item><term>Christoph Willibald Gluck</term></item><item><term>Wolfgang Amadeus Mozart</term></item><item><term></term></item><item><term>Andr-Ernest-Modeste Grtry</term></item><item><term>Joseph Haydn</term></item></list></keywords></textClass></profileDesc></teiHeader></istex:fulltextTEI><json:item><original>false</original><mimetype>text/plain</mimetype><extension>txt</extension><uri>https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus oup" wicri:toSee="no header"><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article"><front><journal-meta><journal-id journal-id-type="hwp">earlyj</journal-id><journal-id journal-id-type="hwx">earlyj</journal-id><journal-id journal-id-type="publisher-id">earlyj</journal-id><journal-title>Early Music</journal-title><issn pub-type="epub">1741-7260</issn><issn pub-type="ppub">0306-1078</issn><publisher><publisher-name>Oxford University Press</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1093/em/cam100</article-id><article-categories><subj-group><subject>PERFORMING MATTERS</subject></subj-group></article-categories><title-group><article-title>How composers viewed performers’ additions</article-title></title-group><contrib-group><contrib contrib-type="author"><name><surname>Jerold</surname><given-names>Beverly</given-names></name></contrib></contrib-group><aff><italic>Beverly Jerold's writings have appeared recently in</italic> Eighteenth-Century Music, BACH: Journal of the Riemenschneider Institute, The Musical Times, Journal of the American Musicological Society <italic>and</italic> Early Music. <italic>The</italic> Dutch Journal of Music Theory <italic>published her ‘Intonation standards and equal temperament’ (May, 2007)</italic>. <email>Bvjerold@aol.com</email></aff><pub-date pub-type="epub-ppub"><month>2</month><year>2008</year></pub-date><volume>36</volume><issue>1</issue><fpage>95</fpage><lpage>110</lpage><permissions><copyright-statement><italic>Early Music</italic>, Vol. XXXVI, No. 1 © The Author 2008. Published by Oxford University Press. All rights reserved.</copyright-statement><copyright-year>2008</copyright-year></permissions><abstract><p>Historically informed performances of 18th-century vocal works generally add embellishment to the composer’s notes. While evidence does exist for this practice, certain factors have not been considered in the modern literature. One is the difference between ‘skeletal’ and finished writing. Skeletal works, written mainly by secondary composers, lack any embellishment or figuration; thus pieces in this style, for which performers had to supply the ornamentation, have mostly vanished. Finished compositions, on the other hand, were to be sung as written. Gradually a fashion arose, particularly after the mid-century, for re-embellishing these finished pieces. In an effort to protect their work, composers added more notes to eliminate any opportunity for singers’ improvisations. Or a composer might leave an occasional bar unadorned to give the singer an opportunity to embellish, thereby keeping the peace while preserving his own work. This article will present views about singers’ ornamentation from the composers Johann Kuhnau, Johann Joseph Fux, Georg Frideric Handel, Johann Adolph Hasse, Christoph Willibald Gluck, Wolfgang Amadeus Mozart, Vincenzo Manfredini, André-Ernest-Modeste Grétry and Joseph Haydn.</p></abstract><kwd-group><kwd>ornamentation</kwd><kwd>embellishment</kwd><kwd>improvisation</kwd><kwd>Johann Kuhnau</kwd><kwd>Johann Joseph Fux</kwd><kwd>Georg Frideric Handel</kwd><kwd>Johann Adolph Hasse</kwd><kwd>Christoph Willibald Gluck</kwd><kwd>Wolfgang Amadeus Mozart</kwd><kwd></kwd><kwd>André-Ernest-Modeste Grétry</kwd><kwd>Joseph Haydn</kwd></kwd-group></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>How composers viewed performers additions</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>How composers viewed performers additions</title></titleInfo><name type="personal"><namePart type="given">Beverly</namePart><namePart type="family">Jerold</namePart><affiliation>Beverly Jerold's writings have appeared recently in Eighteenth-Century Music, BACH: Journal of the Riemenschneider Institute, The Musical Times, Journal of the American Musicological Society and Early Music. The Dutch Journal of Music Theory published her Intonation standards and equal temperament (May, 2007).</affiliation><affiliation>E-mail: Bvjerold@aol.com</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><subject><topic>PERFORMING MATTERS</topic></subject><originInfo><publisher>Oxford University Press</publisher><copyrightDate encoding="w3cdtf">2008</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><abstract>Historically informed performances of 18th-century vocal works generally add embellishment to the composers notes. While evidence does exist for this practice, certain factors have not been considered in the modern literature. One is the difference between skeletal and finished writing. Skeletal works, written mainly by secondary composers, lack any embellishment or figuration; thus pieces in this style, for which performers had to supply the ornamentation, have mostly vanished. Finished compositions, on the other hand, were to be sung as written. Gradually a fashion arose, particularly after the mid-century, for re-embellishing these finished pieces. In an effort to protect their work, composers added more notes to eliminate any opportunity for singers improvisations. Or a composer might leave an occasional bar unadorned to give the singer an opportunity to embellish, thereby keeping the peace while preserving his own work. This article will present views about singers ornamentation from the composers Johann Kuhnau, Johann Joseph Fux, Georg Frideric Handel, Johann Adolph Hasse, Christoph Willibald Gluck, Wolfgang Amadeus Mozart, Vincenzo Manfredini, Andr-Ernest-Modeste Grtry and Joseph Haydn.</abstract><subject><genre>Keywords</genre><topic>ornamentation</topic><topic>embellishment</topic><topic>improvisation</topic><topic>Johann Kuhnau</topic><topic>Johann Joseph Fux</topic><topic>Georg Frideric Handel</topic><topic>Johann Adolph Hasse</topic><topic>Christoph Willibald Gluck</topic><topic>Wolfgang Amadeus Mozart</topic><topic></topic><topic>Andr-Ernest-Modeste Grtry</topic><topic>Joseph Haydn</topic></subject><relatedItem type="host"><titleInfo><title>Early Music</title></titleInfo><genre type="Journal">journal</genre><identifier type="ISSN">0306-1078</identifier><identifier type="eISSN">1741-7260</identifier><identifier type="PublisherID">earlyj</identifier><identifier type="PublisherID-hwp">earlyj</identifier><part><date>2008</date><detail type="volume"><caption>vol.</caption><number>36</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>95</start><end>110</end></extent></part></relatedItem><identifier type="istex">29C51EE81BA49FDE04694F5857D7C5765EC29B56</identifier><identifier type="DOI">10.1093/em/cam100</identifier><accessCondition type="use and reproduction" contentType="copyright">Early Music, Vol. XXXVI, No. 1 The Author 2008. Published by Oxford University Press. All rights reserved.</accessCondition><recordInfo><recordContentSource>OUP</recordContentSource></recordInfo></mods></metadata><covers><json:item><original>true</original><mimetype>image/tiff</mimetype><extension>tiff</extension><uri>https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/covers/tiff</uri></json:item></covers><annexes><json:item><original>true</original><mimetype>image/jpeg</mimetype><extension>jpeg</extension><uri>https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/annexes/jpeg</uri></json:item><json:item><original>true</original><mimetype>image/gif</mimetype><extension>gif</extension><uri>https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/annexes/gif</uri></json:item><json:item><original>true</original><mimetype>application/pdf</mimetype><extension>pdf</extension><uri>https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/annexes/pdf</uri></json:item></annexes><enrichments><istex:catWosTEI uri="https://api.istex.fr/document/29C51EE81BA49FDE04694F5857D7C5765EC29B56/enrichments/catWos"><teiHeader><profileDesc><textClass><classCode scheme="WOS">MUSIC</classCode></textClass></profileDesc></teiHeader></istex:catWosTEI></enrichments><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 001276 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 001276 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:29C51EE81BA49FDE04694F5857D7C5765EC29B56
|texte= How composers viewed performers additions
}}
| This area was generated with Dilib version V0.6.21. |  |