"For the sake of fullness of music in the choir”—performance practice and the double bass at the Kroměříž Court

Journal article


Rawson, R. 2018. "For the sake of fullness of music in the choir”—performance practice and the double bass at the Kroměříž Court. Historical Performance. 1 (1), pp. 119-147. https://doi.org/10.2979/histperf.1.1.06
AuthorsRawson, R.
Abstract

Argues that the field of historically-informed performance is still applying romantic notions of approaches to the notation of double bass parts in the late seventeenth and early eighteenth century. Rather than looking to surviving parts for details about instruments, it is argued that the role and function in the context of basso continuo practice, much more than organological concerns about tuning and size, is key to a historical understanding of performance practice of the time. Relying on previously overlooked or mis-read primary sources, a new approach is called for as well as some reconsideration of the function of the 16' bass in the context of concert music with cello obligato.

Year2018
JournalHistorical Performance
Journal citation1 (1), pp. 119-147
PublisherIndiana University Press
ISSN2574-4151
Digital Object Identifier (DOI)https://doi.org/10.2979/histperf.1.1.06
Publication dates
Print01 Aug 2018
Publication process dates
Deposited12 Jan 2018
Accepted01 Oct 2017
Accepted author manuscript
Output statusPublished
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https://repository.canterbury.ac.uk/item/887w1/-for-the-sake-of-fullness-of-music-in-the-choir-performance-practice-and-the-double-bass-at-the-krom-court

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