Historically Informed Performance Practice
An extract from the Introduction to Greg Dikmans, ‘The performance practice of early 18th-century French flute music’ (MA Thesis, La Trobe Uni, 1991).
The Performer as Orator:
Rhetoric and Historically Informed Performance
Extracts from a draft of Greg Dikmans, ‘The Performer as Orator: Rhetoric and Performance Practice’ (PhD Thesis, Melb Uni).
Extracts from Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752)
[On Playing the Flute]
Extracts from Versuch über die wahre Art das Clavier zu spielen (Berlin, 1753/1762)
[Essay on the True Art of Playing Keyboard Instruments]
Extracts from Versuch einer gründlichen Violinschule (1755/56)
[A Treatise on the Fundamental Principles of Violin Playing]
Brief quotations and longer extracts from various (mainly 17th and 18th century) sources.
- Music: definitions—René Descartes et al.
- The purpose of music—Vincenzo Galileo, Marin Mersenne, Roger North, Jimi Hendrix et al.
- The passions—Duc de La Rochefoucauld
- The passions aroused by sound alone—Bernard Lamy
- Music as eloquence—Marin Mersenne and Michel de Saint-Lambert
- The performer as orator—J.J. Quantz and François Couperin
- Mattheson on the affections—Johann Mattheson
- An introduction to good taste in musicke—Francesco Geminiani
- Some Italian affect (tempo) terms
- Some French affect (tempo) terms and their Italian equivalents
- Affect in the typical Baroque sonata
Life, the universe and performance practice.
Some musings on the connections with Zen Buddhist philosophy and a brief discussion of Castiglione’s decoro, sprezzatura and gracia.