Interpretation of Music

by Thurston Dart

From Wikipedia, the free encyclopedia The Interpretation of Music is a Thurston Dart. It is described by the Encyclopædia Britannica as "the best direct and concise account of the issues of performance".[1] This book deals with correct performance conventions and procedures relevant to different periods and styles (for example Gregorian intonation, divisions upon parts, French baroque over-dotting, etc.). It covers these various topics in a chronological order, also giving descriptions of period instruments and their uses. It is a book useful for those wishing to compose in a more authentic antiquated style, and for those wishing to make performances more historically "correct".

Genres: Music

Paperback

First published January 1, 1962

Reviews

[Genni · Rating 4 out of 5]

This little book serves as both an introduction to and an address against the misconceptions of performance practice in the 14th-18th centuries. Excellent resource that I will be referring back to.

[Mod? · Rating 3 out of 5]

(Actually the 4th Hutchinson edition, of 1967)

Fascinating, as much from being from the 1950s as anything else.

[Peter · Rating 2 out of 5]

Thurston Dart wrote this book in a very opinionated and pretentious tone. Although Dart has some good suggestions for correct performance practice most are up for debate. I used Historical Anthology of Music Volume 1: Oriental, Medieval, & Renaissance Music and Historical Anthology of Music, Volume II: Baroque, Rococo, and Pre-Classical Music in conjunction with the book as suggested by the author. Playing the pieces in those books was enjoyable and I am glad Dart used anthologies that were easy to find. Overall I would say The Interpretation of Musicwould only be of interest to Early Music Scholars.

[Joseph · Rating 4 out of 5]

A basic book for anyone involved with early music. Some of the ideas may seem a little dated now, but I was surprised to discover the "Purcell fives," so much the topic of discussion in the 1990's (if a friend's word can be trusted) already mentioned by Dart several decades earlier. The same might be said for other topics.

[Matt · Rating 5 out of 5]

A most excellent read! Some definite ideas to consider for anyone looking to perform music from before the 19th century, and a great many challenges to notions that survive into the present, for all the effort to eradicate those self-same errata. Music lovers of all levels can enjoy this book. Dart is a master conversationalist who, while occasionally dense in the amount of thought per paragraph, artfully dodges complex technical language. If you're unfamiliar with the older system of note names (minims, crotchets, quaver et al) a quick Internet search to pull up a conversion chart should be all you need to understand his work.

[Avis Black · Rating 4 out of 5]

One of the important scholarly forces in the 1950s and 1960s supporting the Early Music movement, Dart's book is a surprisingly good read. Recommended for those who would like to have their eyes opened about classical music performance as it has evolved.

[Raphael Domeniche · Rating 5 out of 5]

Totally recommended for any musician who is interested in the real way of playing the music of the 14th (or less) to the 18th centuries. A must read for conductors and for editors.