NEUMANN, Frederick

Ornamentation in Baroque and Post-Baroque music. With special emphasis on J. S. Bach.
Ornaments play an enormous role in the music of the seventeenth and eighteenth centuries, and ambiguities in their notation (as well as their frequent omission in the score) have left doubt as to how composers intended them to be interpreted. In this controversial work, Neumann, himself, a violinist and conductor, takes an entirely new look at ornamentation, questioning the validity of the rigid principles applied to their performance and argues that strict constraints are inconsistent with the freedom enjoyed by musicians of the period.

New Jersey, 1978. 3ª edición revisada 1983. 630pp. Encuadernación én rústica. Idioma: inglés.

Frederick Neumann. Ornamentation in baroque and post-baroque music : with special emphasis on J.S. Bach

 

Preface

Acknowledgements

List of abbreviations

 

PART I: Introduction.

1.- Ornamentation and structure

2.- The categories of musical ornaments

3.- Historical performance and the problem of method.


PART II: Baroque trends of ornamentation.

Introduction

4.- Italian developments

5.- French developments

6.- German developments

7.- J.S. Bach's usage.

PART III: One-note graces.

Introduction: Vorschlag, Nachschlag, Zwischenschlag, Zusammenschlag

8.- The French port de vois and coulé: definition and character

9.- Port de vois and coulé for voice and melody instruments, 1636-1715

10.- Port de vois and coulé on the lute and the keyboard, 1615-1715

11.- Couperin's ports de voix and coulés

12.- Ports de voix and coulés, 1715-1775

13.- Accent and chûte

14.- Italian one-note graces, 1590-1710

15.- German one-note graces, 1620-1715

16.- J.S. Bach's one-note graces

17.- Italian one-note graces, 1710-1760

18.- German one-note graces, 1715-1765.

PART IV: The slide.

Introduction: two-note graces and teh nature of the slide

19.- The French slide, 1689-1776

20.- The Italo-German slide, 1600-1715

21.- J.S. Bach's slide

22.- The Italian slide, 1710-1760

23.- The German slide, 1715-1780.

PART V: The trill.

Introduction: designs and terms

24.- The French trill, 1630-1715

25.- Couperin's trill

26.- The French trill, 1715-1785

27.- The Italian trill, 1590-1710

28.- The German trill, 1615-1715

29.- J.S. Bach's trill

30.- The Italian trill, 1710-1760

31.- The German trill, 1715-1780.

 

PART VI: The compound trill.

Introduction: turn-trill, slide-trill, mordent-trill

32.- The French coumpound trill, 1685-1760

33.- J.S. Bach's compound trill

34.- The Italian and German compound trill, 1715-1780.

PART VII: The mordent.

Introduction: types and designs

35.- The French mordent, 1630-1715

36.- The mordent of Couperin and later masters, 1710-1780

37.- The Italo-German mordent, 1600-1715

38.- J.S. Bach's mordent

39.- The Italian mordent, 1710-1760

40.- The German mordent, 1715-1765.

 

PART VIII: Other small ornaments.

41.- The turn

42.- The Zusammenschlag (Acciaccatura)

43.- The Anschlag

44.- The arpeggio

45.- The vibrato.

PART IX: Free ornamentation.

Introduction

46.- Free ornamentation of the French School

47.- Free ornamentation of the Italo-German School in the 17th century

48.- J.S. Bach's free ornamentation

49.- Free ornmentation of the Italo-German School, 1700-1775

 

Post script: historical research and modern performance

Appendix: Selective glossary of terms and symbols

Selected bibliography

Index.