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Journal articles on the topic 'Harpsichord music Music'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

Brokaw, James A., Giovanni Battista Draghi, Robert Klakowich, Vicente Rodriguez, and Almonte Howell. "Harpsichord Music." Notes 44, no. 4 (June 1988): 809. http://dx.doi.org/10.2307/941043.

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2

Chung, David. "French harpsichord music." Early Music 33, no. 4 (November 1, 2005): 728–29. http://dx.doi.org/10.1093/em/cah185.

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3

Johnson, Edmond. "The Death and Second Life of the Harpsichord." Journal of Musicology 30, no. 2 (2013): 180–214. http://dx.doi.org/10.1525/jm.2013.30.2.180.

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Though far from being the only historical instrument to receive renewed attention during the decades surrounding the turn of the twentieth century, the harpsichord holds a special place in the history of the early music revival. No other instrument played as visible—or, perhaps, as controversial—a role in popularizing musical activities during the revival. As a large and visually distinctive presence, the harpsichord has a tendency to garner attention wherever it appears, whether in a museum case or on the concert hall stage. In this article I explore the harpsichord’s nineteenth-century “death” and its subsequent revival—the two periods of its history that have been most neglected. By reexamining the ways in which the harpsichord was portrayed in both words and images, I show that the instrument’s eventual acceptance in the twentieth century was far from being a fait accompli but depended largely on an extensive and deliberate renegotiation of both its image and its cultural identity. In the first half of the article I explore the harpsichord’s nineteenth-century existence as an evocative emblem of a vanished past: an instrument turned relic that was frequently laden with supernatural literary tropes and ghostly imagery. In the second section I examine the instrument’s revival, focusing on the ways in which the harpsichord was brought before modern audiences, ultimately in a form that was heavily reengineered and reconfigured. Indeed, in its journey from museum piece to modern musical instrument the harpsichord underwent a marked transformation of both form and character. The process involved a gradual rejection of much of the cultural baggage the harpsichord had accrued during its long dormancy in the nineteenth century and resulted in a transformation that ultimately won it a place in the modern musical world.
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4

Bailey, Candace Lea. "Complete Keyboard Music, and: Complete Harpsichord Music (review)." Notes 58, no. 4 (2002): 926–29. http://dx.doi.org/10.1353/not.2002.0057.

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5

Gajecka-Antosiewicz, Aleksandra. "Polish harpsichord music in the period of 1936–2016." Notes Muzyczny 1, no. 11 (June 28, 2019): 65–85. http://dx.doi.org/10.5604/01.3001.0013.3522.

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The article touches on Polish harpsichord pieces written between 1936 and 2016, dividing this time into three periods. The first of them is connected with the renaissance of harpsichord music, the second one focuses on the activity of Elżbieta Chojnacka and avant-garde works expanding the harpsichord playing technique, whereas for the third period the article presents compositions written for modern and historical harpsichord featuring the new media, as well as for other early instruments. An addition to the article are two annexes containing a list of academic publications on the discussed topic discussed, and a catalogue of CDs entirely devoted to harpsichord pieces written by contemporary Polish composers, which were released by Polish recording companies.
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6

Wauters, Christine, Mark Delaere, and Jef Lysens. "Karel Goeyvaerts'Litanie Vfor harpsichord and tape or several harpsichords." Contemporary Music Review 19, no. 4 (January 2000): 115–27. http://dx.doi.org/10.1080/07494460000640471.

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7

Schott, Howard. "Harpsichord." Musical Times 126, no. 1711 (September 1985): 540. http://dx.doi.org/10.2307/964469.

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8

Schott, Howard. "Harpsichord." Musical Times 128, no. 1727 (January 1987): 31. http://dx.doi.org/10.2307/964641.

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9

Schott, Howard. "Harpsichord." Musical Times 128, no. 1734 (August 1987): 442. http://dx.doi.org/10.2307/965017.

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10

Bedford, Frances, and Martin Elste. "Modern Harpsichord Music: A Discography." Notes 52, no. 4 (June 1996): 1185. http://dx.doi.org/10.2307/898406.

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11

Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (June 20, 2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.

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The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part of the harpsichord repertoire and to what degree harpsichord performances of Classical compositions can be justified in performance practice. The problem is discussed especially in reference to music by W.A. Mozart. The article presents the history of views on the possibility of Mozart’s works to be performed on historical instruments. It also provides the most up-to-date information on the position of the harpsichord at the end of the 18th century. The last part of the article discusses this instrument’s role in the creative output of W.A. Mozart. It is mainly based on the latest knowledge Siegbert Rampe acquired in recent years.
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12

Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 1." Notes Muzyczny 1, no. 11 (June 28, 2019): 29–42. http://dx.doi.org/10.5604/01.3001.0013.3520.

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The present article is connected in terms of its topic with the text entitled Harpsichord or piano? Different concepts in the 18th century keyboard music published by the author in “Notes Muzyczny” no. 1 (9) 2018, and it is the continuation of the discussion on the capacities and ways of performance of music from the Classical period, which is now understood as piano music, on the harpsichord. Subsequent parts will touch on peculiar performance topics connected with the role of the harpsichord in that period: the understanding and rendering of the dynamics, the performance of arpeggios, and the ornamentation. The starting point of the author’s deliberations is the textbook by Daniel Gottlob Türk entitled Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen. (Leipzig, Halle 1789) and textbooks by other theoreticians of that period (J. J. Quantz, C. Ph. E. Bach), as well as modern publications (F. Neumann, C. Brown, S. Rampe, J. Trinkewitz). The possibility of the rendering of the dynamics understood as the capacity to influence the strength of single sounds is not the necessary condition for performing keyboard compositions from the second half of the 18th century. Neither is it the feature placing keyboard instruments in any particular hierarchy of values. In the 18th century sources it is hard to find any opinions stating that harpsichords were perceived as worse than other keyboard instruments due to the impossibility of shaping the dynamics of individual sounds. The most significant remarks referring to the performance are the topics connected with expression. The dynamics is not the only mean thanks to which a performance becomes expressive. It is possible to play in an expressive way on the harpsichord, yet it is achieved thanks to articulatory measures, agogic nuances, the right way of hitting keys and the proper selection of texture while playing basso continuo.
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13

Holman, Peter. "A New Source of Restoration Keyboard Music." Royal Musical Association Research Chronicle 20 (1987): 53–57. http://dx.doi.org/10.1080/14723808.1987.10540919.

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Restoration keyboard music has been well served in recent years by modern editions, source studies and thematic catalogues. Thus it is all the more surprising that Brussels Conservatoire MS XY 15139, a large manuscript from the early eighteenth century containing unique pieces by John Blow and William Croft as well as a number of early copies of music by Henry Purcell, has almost entirely escaped notice. It seems that the only references to it in the scholarly literature to date have been a brief description by Margaret Reimann in her article on the Kortkamp family in Die Musik in Geschichte und Gegenwart, and my edition of two Croft suites in the 1982 revision of that composer's Complete Harpsichord Works.
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14

Dobroń, Agnieszka. "The comparison of the method of harpsichord teaching included in the textbook by Jean Nandi entitled "Starting on the Harpsichord" with the principles of the present core curriculum for primary music schools." Notes Muzyczny 2, no. 12 (December 13, 2019): 99–114. http://dx.doi.org/10.5604/01.3001.0013.7169.

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The article touches on the comparison of the method of teaching included in the book entitled Starting on the Harpsichord by Jean Nandi with the principles of the present core curriculum for primary music schools in harpsichord classes. The book is one of not many available teaching materials related to harpsichord playing. The publication is aimed at comparing the topics presented in the textbook with the guidelines set out by the Minister of Culture and National Heritage. The article also includes a short description written by the author and a presentation of the content of the textbook plus selected teaching methods. The textbook as such, apart from the topics connected with harpsichord playing, also covers basic topics in the theory of music. It is written using a very simple and understandable language accessible to young students and persons who would translate it into their mother tongues. The article has a chart which clearly shows that the elements determined by the core curriculum are present in the book Starting on the Harpsichord. The content of the article and its illustration and music examples will help readers to familiarise themselves with the content of the textbook and with the learning aims related to harpsichord playing set out in the Ordinance of the Minister of Culture and National Heritage of 6 September 2017 on the core curricula for education in artistic professions at public artistic schools (Journal of laws of 2017 item 1793). The text is addressed to people interested in harpsichord playing methodology, especially to students and young teachers searching for interesting and simple practice materials and music examples which can be used for working with beginners learning the harpsichord.
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15

Mould, Charles. "Harpsichord Makers." Musical Times 126, no. 1707 (May 1985): 270. http://dx.doi.org/10.2307/961300.

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16

Schott, Howard. "Modern Harpsichord." Musical Times 127, no. 1720 (July 1986): 396. http://dx.doi.org/10.2307/965260.

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17

Kitchen, J. "Harpsichord explorations." Early Music 34, no. 2 (May 1, 2006): 335–37. http://dx.doi.org/10.1093/em/cal016.

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18

Nordwall, Ove. "Ligeti's harpsichord." Contemporary Music Review 20, no. 1 (January 2001): 71–78. http://dx.doi.org/10.1080/07494460100640071.

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19

Ledbetter, David. "French Harpsichord." Musical Times 127, no. 1717 (March 1986): 156. http://dx.doi.org/10.2307/965502.

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20

Maple, Douglas, and David Ledbetter. "Harpsichord/Lute." Musical Times 130, no. 1751 (January 1989): 26. http://dx.doi.org/10.2307/966100.

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21

Haskell, Harry, and Larry Palmer. "Harpsichord Revival." Musical Times 131, no. 1764 (February 1990): 94. http://dx.doi.org/10.2307/966403.

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22

Pollens, Stewart, Jean Denis, and Vincent J. Panetta. "Harpsichord Tuning." Musical Times 130, no. 1754 (April 1989): 213. http://dx.doi.org/10.2307/966468.

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23

Elliott, Richard L., and Anthony Newman. "Anthology of Early English Harpsichord Music." Notes 45, no. 3 (March 1989): 633. http://dx.doi.org/10.2307/940834.

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24

Pascal, Beryl Kenyon de. "The Spanish harpsichord and its music." Early Music XXIX, no. 1 (February 2001): 152. http://dx.doi.org/10.1093/earlyj/xxix.1.152.

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25

Kitchen, John. "Harpsichord music from England and Germany." Early Music 33, no. 3 (August 1, 2005): 530–32. http://dx.doi.org/10.1093/em/cah123.

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26

de Man, Annelie. "Contemporary harpsichord music in The Netherlands." Contemporary Music Review 19, no. 4 (January 2000): 49–60. http://dx.doi.org/10.1080/07494460000640431.

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27

PALMER, FRANCES, and ANNE FRENCH. "The harpsichord-pianoforte." Early Music 13, no. 3 (1985): 470—a—470. http://dx.doi.org/10.1093/earlyj/13.3.470-a.

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28

Chung, D. "French harpsichord collections." Early Music 38, no. 1 (January 28, 2010): 160–64. http://dx.doi.org/10.1093/em/cap127.

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29

Chung, D. "French harpsichord vitality." Early Music 41, no. 3 (August 1, 2013): 525–27. http://dx.doi.org/10.1093/em/cat074.

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30

Barker, Naomi Joy. "The Italian harpsichord." Early Music 34, no. 1 (February 1, 2006): 164–66. http://dx.doi.org/10.1093/em/cah226.

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31

Ledbetter, David. "The artful harpsichord." Early Music 33, no. 3 (August 1, 2005): 535–36. http://dx.doi.org/10.1093/em/cah125.

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32

Emmerson, Simon. "The electroacoustic harpsichord." Contemporary Music Review 20, no. 1 (January 2001): 35–58. http://dx.doi.org/10.1080/07494460100640051.

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33

Matthews, Betty. "A Granville Harpsichord?" Musical Times 127, no. 1716 (February 1986): 74. http://dx.doi.org/10.2307/964556.

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34

Anderson, Robert. "Harpsichord or Piano?" Musical Times 130, no. 1756 (June 1989): 355. http://dx.doi.org/10.2307/966045.

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35

Wraight, Denzil. "A Zenti harpsichord rediscovered." Early Music XIX, no. 1 (February 1991): 99–102. http://dx.doi.org/10.1093/earlyj/xix.1.99.

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36

Libin, Laurence, and Karthryn L. Shanks. "A harpsichord from Sorrento." Early Music XVII, no. 2 (May 1989): 216–20. http://dx.doi.org/10.1093/earlyj/xvii.2.216.

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37

Boyd, Malcolm. "Soler's complete harpsichord works." Early Music XXII, no. 1 (February 1994): 161–62. http://dx.doi.org/10.1093/earlyj/xxii.1.161.

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38

Martin, Nicholas. "Peter Whale, harpsichord maker." Early Music XXII, no. 2 (May 1994): 364. http://dx.doi.org/10.1093/earlyj/xxii.2.364.

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39

McCoy, D. "Bach on the harpsichord." Early Music 37, no. 3 (August 1, 2009): 511–13. http://dx.doi.org/10.1093/em/cap060.

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40

Bavington, P. "Two Trasuntino harpsichord copies." Early Music 32, no. 2 (May 1, 2004): 345–46. http://dx.doi.org/10.1093/em/32.2.345.

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41

Perkins, J. "Bach for solo harpsichord." Early Music 35, no. 4 (November 1, 2007): 663–66. http://dx.doi.org/10.1093/em/cam079.

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42

Chapman, Jane. "Platform: Redefining the Harpsichord." Musical Times 132, no. 1785 (November 1991): 547. http://dx.doi.org/10.2307/966203.

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43

BELET, BRIAN. "Live performance interaction for humans and machines in the early twenty-first century: one composer's aesthetics for composition and performance practice." Organised Sound 8, no. 3 (December 2003): 305–12. http://dx.doi.org/10.1017/s1355771803000281.

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Technology influences all art, and therefore all music, including composition, performance and listening. It always has, and it always will. For example, technical developments in materials, mechanics and manufacturing were important factors that permitted the piano to supersede the harpsichord as the primary concert Western keyboard instrument by about 1800. And with each new technical development new performance issues have been introduced. Piano performance technique is quite different from harpsichord technique, and composers responded to these differences with new music ideas and gestures. The multiple relationships between technology and composer and performer are dynamic and of paramount importance to each party. And a true consideration of any aspect of music requires that all three areas be examined. This has always been a part of music, and so these relationships are inherently important within computer music. The difference is that electronic technology has caused a fundamental change for all aspects of music, a difference that is as pivotal in the history of Western music as was the shift from oral to written preservation of music over a thousand years ago, and then also the accessibility provided by printed music five hundred years ago. In computer music, all parties are always acutely aware of the presence and influence of machine technology in both the visual and audible realms.
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44

Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 2. Arpeggio." Notes Muzyczny 2, no. 12 (December 13, 2019): 33–44. http://dx.doi.org/10.5604/01.3001.0013.7166.

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The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or préludes non mesuré. Despite the arpeggio’s diversity, unlike ornaments, this mannerism has not been thoroughly described. That is why doubts often occur as to whether or to what extent it can be used in instances when it is not explicitly required. In the context of classical music performance on the harpsichord the arpeggio is of special significance as it is a very important mean of expression. In its many shades it is one of the mannerisms the use of which is a performer’s decision. The modern trend of historical performance has updated the approach towards this mannerism for keyboard music from the classical period, allowing the use of performance traditions of the 17th and the first half of the 18th centuries. While performing arpeggios, one should be guided by the awareness of the historical context, musical sense, but also the instrument’s idiom, and apply them wherever they enhance the sound of the harpsichord and affections of a given fragment of a composition. The article discusses the guidelines on the ways of rendering of arpeggios, mainly based on the Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende by Daniel Gottlob Türk (1789) and its use options in harpsichord music of the second half of the 18th century exemplified by works by W. A. Mozart.
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45

Kenyon de Pascual, B. "Report. The Spanish harpsichord and its music." Early Music 29, no. 1 (February 1, 2001): 152. http://dx.doi.org/10.1093/em/29.1.152.

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46

Lehman, Bradley. "Death and the Mayerin: Germanic harpsichord music." Early Music 33, no. 4 (November 1, 2005): 730–32. http://dx.doi.org/10.1093/em/cah186.

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47

McWilliam, James. "London, Reform Club." Tempo 60, no. 238 (October 2006): 68–69. http://dx.doi.org/10.1017/s0040298206270335.

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48

Alves, Bill, Linda Burman-Hall, Lou Harrison, and William Slye. "Lou Harrison: Complete Harpsichord Works." American Music 23, no. 4 (2005): 536. http://dx.doi.org/10.2307/4153078.

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49

Smith, Richard Langham, and Charlotte Mattax. "Accompaniment on Theorbo and Harpsichord." Musical Times 133, no. 1797 (November 1992): 575. http://dx.doi.org/10.2307/1002588.

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50

Smith, Richard Langham. "Rodgers' Grand Double Electronic Harpsichord." Musical Times 135, no. 1813 (March 1994): 177. http://dx.doi.org/10.2307/1002923.

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