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by Bruce Haynes

Author: Bruce Haynes
Subcategory: Music
Language: English
Publisher: Scarecrow Press (November 6, 2002)
Pages: 632 pages
Category: Photo and Art
Rating: 4.3
Other formats: mobi docx lit doc

Bruce Haynes was a part-time teacher at the University of Montreal. A great read for anyone interested in music history, or the history of musical instruments.

Bruce Haynes was a part-time teacher at the University of Montreal. He published nearly 50 articles, a bibliography of oboe repertoire, and The Eloquent Oboe (2001). Well reserched and surprisingly readable for such a thorough treatment of a narrow subject.

The History of Performing Pitch explores the relationships between pitches like Chorton, Cammerton, and Consort-Pitch and what pitch frequencies they represented at various times and places

The History of Performing Pitch explores the relationships between pitches like Chorton, Cammerton, and Consort-Pitch and what pitch frequencies they represented at various times and places. It also examines what effect pitch differences had on musical notation and choice of key, and discusses practical considerations musicians would have had to make when transposing, especially with regards to the range of singers' voices.

Find many great new & used options and get the best deals for A History of Performing Pitch: The Story of 'A' . Bruce Haynes was a part-time teacher at the University of Montreal. Country of Publication.

A History of Performing Pitch: The Story of A (Scarecrow Press, 2002). La Scena Musicale, September 7, 2007. The Eloquent Oboe: A History of the Hautboy from 1640 to 1760 (Oxford University Press, 2001). The Oboe (with Geoffrey Burgess), (Yale University Press, 2004). The End of Early Music: A Period Performer's History of Music for the Twenty-First Century (Oxford University Press, 2007). Piper at the Gates of Dawn. Bruce Haynes: legendary Pioneer of the Hautboy. Bruce Haynes bio from hautboy.

This is the first complete survey of the historical pitch standards used by musicians during the last four centuries. Written from a practical perspective and addressed to performers it is the first book to attach frequency values to pitch names and describe where, when, and why various historical pitch levels were used.

History of Performing Pitch The Story of "A" Jack Campbell.

But it is basic for anyone interested in the history of pitch. As a performer of historically informed music I use this volume all the time.

But now, in A History of Performing Pitch, Bruce Haynes has addressed this vast task with considerable success

But now, in A History of Performing Pitch, Bruce Haynes has addressed this vast task with considerable success. His book contains the first systematic and comprehensive effort to establish a history of referential pitch standards in western European art music from the late sixteenth century to the present.

The Story of "A". by Bruce Haynes

The Story of "A". by Bruce Haynes. Published October 28, 2002 by The Scarecrow Press, In. .

Bibliographic Details Publisher: Scarecrow Press Publication Date: 2002 Binding: Hardcover Book Condition: Good

Bibliographic Details Publisher: Scarecrow Press Publication Date: 2002 Binding: Hardcover Book Condition: Good. AbeBooks offers millions of new, used, rare and out-of-print books, as well as cheap textbooks from thousands of booksellers around the world.

This is the first complete survey of the historical pitch standards used by musicians during the last four centuries. Written from a practical perspective and addressed to performers it is the first book to attach frequency values to pitch names and describe where, when, and why various historical pitch levels were used. It surveys a period from the 16th century to the present and focuses on Italy, France, Germany, the northern and southern Netherlands, and the Habsburg Lands, following the developments in the design and function of instruments and how they influenced and were influenced by pitch changes.The History of Performing Pitch explores the relationships between pitches like Chorton, Cammerton, and Consort-Pitch and what pitch frequencies they represented at various times and places. It also examines what effect pitch differences had on musical notation and choice of key, and discusses practical considerations musicians would have had to make when transposing, especially with regards to the range of singers' voices.What distinguishes this book from previous pitch studies is that it has been written since the rise of the early music revival within the context of the growing understanding of how "early" instruments work. This development has provided a new source of empirical information not previously available, which allows this book to base its conclusions on a much larger and more relevant sample than has ever been possible before. It refers to the original pitches of some 1,382 historical instruments, including cornetts, Renaissance flutes, traversos, recorders, clarinets, organs, pitchpipes, and automatic instruments from all over Europe and compares this information with music and written texts. While this study avoids categorical answers where historical information is not yet sufficient to justify them, it locates a number of historical pitch levels, discovers several that were previously unnoticed, and disproves several common myths about pitch.