Period Practice This is an area of vigorous discussion as so much was taken for granted in the apprentice system of instructing performers. The oral tradition combined with teaching by example was the primary means of instruction untilthe time conservatories were established in the 19 th century. Thus, there are many open questions about bowing, vibrato, makeup and forces in ensembles and so forth. For instance, many baroque period sonatas were written for one (solo sonata) or two (trio sonata) obbligato instruments and basso continuo. The obbligato parts were written out in full, but we know for sure that the soloists were allowed leeway to embellish the solo partswith additions (ornamentations) of their own. The extent to which this took place, and what forms it took if/when it was used are very much in question in some cases. Was it just the occasional grace note or were more elaborate additions the norm? We really dont know as no one bothered at the time to write down specifically how this was accomplished. The whole question of basso continuo is another can of worms. What instruments were used (bass viols, cellos, contrabasses, bassoons,(1820 - 1910) Extending the bounds of music beyond the restrictive formality ofClassicism was the prime functionof the musical period known as Romanticism. Formal concern, intellectuality and concise expression have now been augmented by sentiment, imagination and effect. The period of Romanticism, heralded in the late works (ex., string quartets, symphonies, piano sonatas) of Ludwig van Beethoven and culminates inImpressionism (Claude Debussy, Maurice Ravel, etc.), a transitional trend which, with the innovationsof the symphonies of Gustav Mahler, forms the beginnings of music in the 20 th century
Posted on: Thu, 21 Nov 2013 09:50:43 +0000