Bach's Tempo Ordinario
A Plaine and Easie Introduction to the System
Datos Bibliográficos
| ID | 19463546 |
|---|---|
| Autores | Robert Marshall (0000-0002-6880-9987, Claremont Colleges, autor de correspondencia) |
| Año | 2008 |
| Volumen | 13 |
| Número | 1 |
| Páginas | 1-33 |
| Fecha de publicación | 2008-01-01 |
| Peer Reviewed | Sí |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Performance Practice Review (JOURNAL) |
| Identificadores de la revista | ISSN: 1044-1638 • E-ISSN: 2166-8205 |
| Editorial | Claremont Colleges Library (PUBLISHER • US) |
| DOI | 10.5642/perfpr.200813.01.05 |
| OpenAlex | W2063576180 |
| Idioma | EN |
The initial impetus for this inquiry came from a question posed by Arthur Mendel during a coffee break in a Bach seminar some thirty years ago. Why, he asked, did Bach notate the last movement of the fifth Brandenburg Concerto in two-four time, with triplets (Ex. 1): Example 1. Brandenburg Concerto No. 5, BWV 1050/3, original notation rather than in six-eight time (Ex. 2)? Example 2. Brandenburg Concerto No. 5, BWV 1050/3, hypothetical version
Aesthetics · Ambiguity · Art · Art history · Cadenza · Concerto · Humanities · Linguistics · Literature · Notation · Piano · Bach Studies and Logistics Development · Diverse Musicological Studies · Musicology and Musical Analysis · Philosophy
| Velocidad de citación | historical |
|---|---|
| Altamente citado | No |