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ISSN: 0580-373X    frecuency : 4   format : Electrónica

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Volume 47 Number 2 Year 2011

9 articles in this issue 

Kerala J. Snyder

This article explores the questions of how Buxtehude might have used a pedal clavichord for the purposes of teaching, performing, and composing, with special reference to his pedaliter praeludia.

Pags. 9 - 26  

Christian Ahrens

Clavichords, harpsichords and fortepianos with an organ like pedal were very common instruments from the end of the 17th to the mid of the 19th century. They served not only for organists to prepare for their job, but also for other people – including eve... see more

Pags. 27 - 49  

Dalibor Miklavcic

Baroque North German “free keyboard music pedaliter” does not necessarily represent exclusive organ music. Structural differences between choral repertoire and pedaliter free works show them as two separate genres, choral works being genuine organ music, ... see more

Pags. 51 - 89  

Joel Speerstra

Studying the haptic feedback of various instruments within a historical keyboard instrument landscape raises questions about why C. P. E. Bach, among others, encouraged practicing musicians to engage with the phenomenology of multiple keyboard instruments... see more

Pags. 91 - 101  

Michael Belotti

Liturgical organ-playing depended largely on improvisation in the Baroque era. North German organ chorales were not primarily written for practical use but rather as examples of different compositional techniques for students, or testimonies of their comp... see more

Pags. 103 - 113  

Katharina Larissa Paech

North German baroque music for keyboard instruments raises numerous questions, especially regarding disharmony between compositions and organs in that period. Lyrics criticaly present different research methods and their results.

Pags. 115 - 124  

Marko Motnik

Intabulation and playing vocal compositions were important duties of 16th– and 17th– century organists, which are corroborated both by explicit reports as well as by the contents of numerous volumes of tabulatures from this period.

Pags. 125 - 137  

Ibo Ortgies

The relation of organ temperament to almost all areas of musical practice in Northern and Central Germany in the seventeenth and eighteenth centuries makes it an indispensable factor in historical performance practice. The issue of organ temperament has e... see more

Pags. 139 - 152