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dc.contributor.authorTyma, Kellyen_US
dc.date.accessioned2017-04-18T13:41:51Z
dc.date.available2017-04-18T13:41:51Z
dc.identifier.urihttp://commons.lib.niu.edu/handle/10843/17400
dc.descriptionIncludes bibliographical references.en_US
dc.description.abstractBaroque music has been so neglected that no original tradition as to its performance has been passed down through the centuries. We must therefore try to acquire as close a resemblance as we can under modern conditions with modern notation and improved instruments. The Baroque ideal did not consist of a faithful adherence to a carefully notated text. Composers depended upon the individuality of the performer to fill out the implications of a sketchily notated text. Rigid interpretations simply do not exist; however, there are outer boundaries. There have been treatises written by Baroque composers concerning Baroque performance practices to which we can refer, but many times obvious points to the Baroque musician were left out—points not obvious to us today.en_US
dc.format.extent22 pagesen_US
dc.language.isoen_USen_US
dc.publisherNorthern Illinois Universityen_US
dc.rightsNIU theses are protected by copyright. They may be viewed from Huskie Commons for any purpose, but reproduction or distribution in any format is prohibited without the written permission of the authors.en_US
dc.subjectBaroqueen_US
dc.subjectmusicen_US
dc.subjectrehearsalen_US
dc.titleBaroque performance practicesen_US
dc.type.genreDissertation/Thesisen_US
dc.typeTexten_US
dc.contributor.departmentSchool of Musicen_US


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