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ecarroll · 11-07-2006, 05:18 PM

TMers,

In my opinion every period has a style and aesthetic, thus the concept of "period performance practice" and "period instruments" can be appled across our entire musical history. New music is "period" music. It always has been. Unfortunately, these terms were coined by shoddy journalists writing about the explosion of performances that started back in the 70s by Harnoncourt, Gardiner, and others (performances that I really like, by the way). Pity the poor writers -- they really don't know better.

As Robin correctly points out, the romantic period produced a wealth of new instruments (within our own family the ophicleide, keyed bugle, echo cornet and double-bell euphonium spring instantly to mind, as does the Wagner tuba, cimbasso, and so on), each with its own sound and characteristic.

A quick glance at http://www.harrypartch.com will reveal new instruments from the fertile mind of this early/mid 20th century American composer. Electro-acoustic composers, starting with Mort Subotnick, have taken instrument design and software into concert halls and launched a whole new set of "period" sounds that continue to be developed today.

Exciting stuff, isn't it?

Best,
EC (period performer)

11-07-2006, 05:18 PM	#7 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,404	TMers, In my opinion every period has a style and aesthetic, thus the concept of "period performance practice" and "period instruments" can be appled across our entire musical history. New music is "period" music. It always has been. Unfortunately, these terms were coined by shoddy journalists writing about the explosion of performances that started back in the 70s by Harnoncourt, Gardiner, and others (performances that I really like, by the way). Pity the poor writers -- they really don't know better. As Robin correctly points out, the romantic period produced a wealth of new instruments (within our own family the ophicleide, keyed bugle, echo cornet and double-bell euphonium spring instantly to mind, as does the Wagner tuba, cimbasso, and so on), each with its own sound and characteristic. A quick glance at http://www.harrypartch.com will reveal new instruments from the fertile mind of this early/mid 20th century American composer. Electro-acoustic composers, starting with Mort Subotnick, have taken instrument design and software into concert halls and launched a whole new set of "period" sounds that continue to be developed today. Exciting stuff, isn't it? Best, EC (period performer)