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Digitized by the Internet Archive in

2012 with funding from

LYRASIS Members and Sloan Foundation

http://archive.org/details/historicallyinfoOObear

Historically Informed Performance Practice of the

Baroque Era

by

Amanda Beard

A Thesis

Submitted

in Partial Fulfillment

Requirements of the For Honors

Music

in

CSU

in the

of

Honors Program degree of

Music Education.

Schwob School of Music, Columbus State University

Date_

S7s

I

Committee Member

Date

JlJJE/

/

Committee Member

Date

CSU

Date

Thesis Advisor

I jMX\c

5

3

3

Figure 6a- Excerpt from Ornamentation in Baroque p.

and Post-Baroque Music, Neumann,

416- Mordent performed on the beat

principal note

'

Figure 6b- Mordent performed slightly before the beat iJ

I

-gf^H-ftr

principal note

2W

1

Figure 7- Excerpt from Ornamentation in Baroque p.

and Post-Baroque Music, Neumann,

466

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h fftYf f"

rr Figure 8-

-

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Excerpt from

A

Pt2ir^

Performer's Guide to Baroque Music, Donnington peiiuruieu approx:

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(b)

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Image taken from The Development of the

Modem

Flute by

Nancy

Toff, p. 2

m

Image taken from On Playing

the Flute

by Johann Joachim Quantz,

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1

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p.

28