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The End of Early MusicA Period Performer's History of Music for the Twenty-First Century$
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Bruce Haynes

Print publication date: 2007

Print ISBN-13: 9780195189872

Published to Oxford Scholarship Online: January 2010

DOI: 10.1093/acprof:oso/9780195189872.001.0001

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Perpetual Revolution

Perpetual Revolution

Chapter:
(p.215) 13 Perpetual Revolution
Source:
The End of Early Music
Author(s):

Bruce Haynes

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195189872.003.13

There are probably limits to how far we can go today in giving up our tastes, and they no doubt vary depending on the individual case. The most difficult examples may be the historical markers: historical techniques that have no equivalents in Modern style and are therefore unfamiliar; the messa di voce, for instance, dynamic inflection, phrasing based on gestures rather than “long-lines,” articulation syllables on woodwinds, and flattement (finger vibrato). These are not the subtle mannerisms that can overlay a basic modern technique: on the contrary, they negate many things musicians learn in Modern style, and they are immediately conspicuous in performance, probably even to non-musicians. To incorporate these techniques convincingly means rethinking the music because at first they often seem illogical, distasteful, and unmusical. This chapter discusses the illusion of an unbroken performing style from Mozart to contemporary times, Historically Inspired Performance (HIP) movement versus Romanticism, HIP versus classical music, perpetual revolution in music, and the pursuit of authenticity.

Keywords:   performing style, Historically Inspired Performance movement, Romanticism, authenticity, classical music

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