Interpretation How to shape a melodic line
by Schott Music
Original price
$1,600TWD
-
Original price
$1,600TWD
Original price
$1,600TWD
$1,600TWD
-
$1,600TWD
Current price
$1,600TWD
Composer: Graf, Peter-Lukas
Instrument: flute
Publisher: Schott Music
Musical interpretation is first and foremost a question of shaping a melody or the melodic line of a setting. Music, like any language, follows its own set of rules and a sufficient knowledge and familiarity with musical ‘grammar’ is therefore an essential prerequisite of any convincing interpretation.The internationally renowned performer and teacher Peter-Lukas Graf explains in great detail the parameters that have to be taken into account for a successful interpretation: rhythm, metre, agogics, articulation, phrasing, ornamentation and implied polyphony, etc. Numerous examples from the flute repertoire of the 17th–20th century serve as models from which he derives the ‘rules’ appropriate for an interpretation in keeping with each period. – These rules are not intended to be dogmatic but instead should stimulate the players to form their own opinion.
Instrument: flute
Publisher: Schott Music
Song List:
About 'rules' - Preface - Golden rules for the interpreter - The structure and analysis of melody - Notes on the execution of ornamentation in the 17th and 18th centuries - Ornamentation in the 19th and 20th centuries - Phrasing - Rhythm - Accents - Dynamics - Tempo - Metre - Flexibility of rhythm/rubato - Shaping the musical phrase - Conclusion - Bibliography - Index - Musical examples
Musical interpretation is first and foremost a question of shaping a melody or the melodic line of a setting. Music, like any language, follows its own set of rules and a sufficient knowledge and familiarity with musical ‘grammar’ is therefore an essential prerequisite of any convincing interpretation.The internationally renowned performer and teacher Peter-Lukas Graf explains in great detail the parameters that have to be taken into account for a successful interpretation: rhythm, metre, agogics, articulation, phrasing, ornamentation and implied polyphony, etc. Numerous examples from the flute repertoire of the 17th–20th century serve as models from which he derives the ‘rules’ appropriate for an interpretation in keeping with each period. – These rules are not intended to be dogmatic but instead should stimulate the players to form their own opinion.