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Introduction: The Pledge of Allegiance
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Chapters in this book
- Frontmatter i
- Contents vii
- Preface ix
- Acknowledgments xi
- Notes to the Reader on Sources and Terminology xv
- Introduction: The Pledge of Allegiance 1
-
Part 1: Establishing an Historical Perspective
- 1. Musical Punctuation, the Analogy 13
- 2. A Surprisingly Complex and Lively Picture of Pointing Theory 32
- 3. Musical “Resting Points of the Spirit” 60
-
Part 2: The Art of Interpreting Rests
- 4. Written and Unwritten Rests 97
- 5. Punctuation vs. Articulation 121
- 6. Affective Punctuation 150
-
Part 3: Case Studies in Musical Punctuation
- 7. Musical Prose – F. W. Marpurg’s Essay on the Punctuation of Recitative 179
- 8. Musical Verse – Johann Mattheson’s “Curious Specimen” of a Punctuated Minuet 203
- Afterword 231
- Appendix A: Translation of Marpurg’s Lessons on Musical Punctuation, from His Kritische Briefe über die Tonkunst, vol. 2 233
- Appendix B: Chronological Chart of Punctuation References 260
- Notes 279
- Selected Bibliography 325
- Index 343
Chapters in this book
- Frontmatter i
- Contents vii
- Preface ix
- Acknowledgments xi
- Notes to the Reader on Sources and Terminology xv
- Introduction: The Pledge of Allegiance 1
-
Part 1: Establishing an Historical Perspective
- 1. Musical Punctuation, the Analogy 13
- 2. A Surprisingly Complex and Lively Picture of Pointing Theory 32
- 3. Musical “Resting Points of the Spirit” 60
-
Part 2: The Art of Interpreting Rests
- 4. Written and Unwritten Rests 97
- 5. Punctuation vs. Articulation 121
- 6. Affective Punctuation 150
-
Part 3: Case Studies in Musical Punctuation
- 7. Musical Prose – F. W. Marpurg’s Essay on the Punctuation of Recitative 179
- 8. Musical Verse – Johann Mattheson’s “Curious Specimen” of a Punctuated Minuet 203
- Afterword 231
- Appendix A: Translation of Marpurg’s Lessons on Musical Punctuation, from His Kritische Briefe über die Tonkunst, vol. 2 233
- Appendix B: Chronological Chart of Punctuation References 260
- Notes 279
- Selected Bibliography 325
- Index 343