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Informationen zum Autor David Yearsley is the author of Bach and the Meanings of Counterpoint (Cambridge, 2002) as well as numerous essays on European musical culture in the seventeenth and eighteenth centuries; his scholarly work has appeared in the Journal of the American Musicological Society, Music and Letters, Early Music and Eighteenth-Century Music. Active as a performer on organ and other keyboard instruments, his recordings are available on the Loft and Musica Omnia labels. Yearsley has been an Alexander von Humboldt Fellow at the Humboldt-Universität zu Berlin and a Wenner-Gren Foundation Fellow at Göteborgs Universitet, Sweden. A long-time member of the pioneering synthesizer trio Mother Mallard's Portable Masterpiece Company, he is Professor of Music at Cornell University, New York. Klappentext Yearsley explores the cultural significance of making music with hands and feet! a mode of performance unique to the organ. 'There is much to enjoy in this compelling study.' Early Music Zusammenfassung From 1500! the independent use of the feet in musical performance at the organ was unique to Germany and vital to its cultural standing in Europe. Yearsley presents an account of this mode of music-making spanning some 500 years! including reappraising J. S. Bach's crucial role in that history. Inhaltsverzeichnis Introduction; 1. Inventing the organist's feet; 2. Harmonies of the feet, visions of the body; 3. Walking towards perfection: pedal solos and cycles; 4. The pedal in the cosmopolitan age of travel; 5. Treading the globe: the world-wide expansion of the German pedal ideal; 6. Bach's feet.
