Cover image for A guide to the harpsichord
Title:
A guide to the harpsichord
Author:
Bond, Ann.
Personal Author:
Publication Information:
Portland, Or. : Amadeus Press, [1997]

©1997
Physical Description:
267 pages : illustrations ; 24 cm
Language:
English
Subject Term:
ISBN:
9781574670271
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library ML651 .B66 1997 Adult Non-Fiction Non-Fiction Area
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Summary

Summary

(Amadeus). This practical guide treats the mechanics and evolution of the instrument and offers a survey of its literature. The author discusses touch and technique, including articulation and fingering, and the issues involved in historical performance practices. She also provides suggestions on selecting and maintaining a harpsichord.


Reviews 1

Choice Review

During the last 30 years, the burgeoning interest in early keyboard instruments and their music has spurred many books. They range from William Zuckermann's The Modern Harpsichord (1969), a description of the historical influence on modern harpsichords and histories of music for the harpsichord (e.g., Bruce Gustafson and David Fuller's Catalogue of French Harpsichord Music, 1990, and John Harris's History of Music for Harpsichord or Piano and Orchestra, 1997) to method books (e.g., Fernando Valenti's The Harpsichord, 1982) and owners' guides designed to help with purchase, maintenance, tuning, and troubleshooting (Ruth Nurmi's A Plain & Easy Introduction to the Harpsichord, CH, Jul'75; Edward Kottick's The Harpsichord Owner's Guide, Ch, May'88; and Nancy Metzger's Harpsichord Technique: A Guide to Expressivity, 1989). Bond synthesizes the diverse information found in some of these volumes into one fine book that addresses the mechanics and building of an instrument, performance practice, repertory, and the care and maintenance of the harpsichord. Aiming at "a wide range of music lovers," the author writes informally but still explains clearly such intricate concepts as tuning and temperament, ornamentation, and continuo playing. Many musical examples enliven her chapters on technique, fingering, and compositional styles of different countries. A generous bibliography and careful index enhance the book's usefulness. Recommended for all music collections. S. Glickman; formerly, Franklin and Marshall College


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