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Informationen zum Autor David K. Wilson is a Baroque violinist based in the San Francisco area. He has taught baroque violin at Indiana University and has performed extensively with period instrument chamber ensembles and orchestras in the United States and in Germany. Professor Thomas Binkley was a noted lutenist and director of early music performances. He founded the early Music Institute at the Indiana University School of Music. Dr. Ingeborg Harer is Assistant Professor at the Universitat fur Musik und darstellende Kunst in Graz, Austria. Dr. Ernest Hoetzl is Assistant Professor of Pedagogy at the Universitat fur Musik und darstellende Kunst in Graz, Austria. Dr Yvonne Luisi-Weichsel teaches in the pedagogy department of the Universitat fur Musik und darstellende Kunst in Graz, Austria. Klappentext ..". a fascinating overall impression of the day-to-day concerns andworking environment of a professional musician of the late 17th century." --American Recorder This volume presents Muffat's texts along withvariants from his own editions in other languages. Wilson's highly readablesupplementary materials make this a useful work for theorists, historians, andperformers. The book is particularly enlightening on differences between French andGerman practice. Treats pitch, ornamentation, bowing, and more. Zusammenfassung Suitable for enlightening on differences between French and German practice, this book treats pitch, ornamentation, bowing, and more. Inhaltsverzeichnis Preliminary Table of Contents: I. Introduction 1. Foreword 2. Biographical Sketch of Georg Muffat 3. Description of the Materials II. Translations 4. Florilegium Primum, 1695 5. Florilegium Secoundum, 1690 6. Auserlesene Instrumentalmusik, 1701 III. Commentary 7. Muffat's Intentions 8. Instruments 9. Tuning: Pitch, Temperament, Intonation 10. Technique: Bowing Rules, Ornamentation, General Conventions 11. German Performance Practice 12. Performance Settings 13. Conclusion Bibliography ...
