before 1900. Supplements were published in Current Musicology,1971 and
1973.- Brown, Howard Mayer, and Stanley Sadie. Performance Practice. New York:
Norton, 1990. 2v. ISBN 0-3930-0208-9. ML457 .P44.
Material based on entries in NG. V.2, on the 17th century and after, covers
topics germane to operatic studies: instruments, voices, improvisation, and so
forth. Index. Will Crutchfield’s contributions on vocal practice are of special
interest (p.292–319; 424–458). - MacClintock, Carol. Readings in the History of Music in Performance. Bloom-
ington: Indiana U.P., 1979. xii, 432p. ISBN 0-253-1449-57. ML457 .R28.
Extracts from writings by Monteverdi, Cavalieri, Marco da Gagliano, Thomas
Campion, Giovanni Doni, Jacques-Bonnet Bourdelot, Charles de Sainte-Evre-
monde, Burney, and Charles de Brosses. No index. - Leppard, Raymond. Authenticity in Music. Portland, Ore.: Amadeus, 1989.
80p. ISBN 0-931340-20-9. ML457 .L46.
A thoughtful appraisal of the approaches to early music in modern perfor-
mance, with a sensible balance reached: the musicological findings must be put
into the context of what sounds best to our ears. As a conductor, Leppard tries
to bring to the stage a performance that is not necessarily what the composer
would have experienced in his own time but one that the composer would
have preferred. Backnotes but no bibliography or index. - Dolmetsch, Arnold. The Interpretation of Music of the 17th and 18th Cen-
turies: Revealed by Contemporary Evidence. London: Novello, 1915. Reprint,
Seattle: U. of Washington Press, 1969. ISBN 0-295-78578-0. viii, 494p.
ML467 .D65.
The classic pioneer study that opened the door to the early music/authenticity
movement. Dolmetsch, an instrument maker and performer on numerous
instruments, old and new, made an exhaustive examination of scores and writ-
ings to accompany his practical knowledge as a player. - Donington, Robert. The Interpretation of Early Music. 4th. ed. London: Faber
& Faber, 1989. 768p. ISBN 0-571-04789-0. ML457 .D64.
First edition, 1963. The 1989 version is substantially the same as the 3rd edi-
tion, 1974. An elaboration of Dolmetsch (preceding entry), in the form of
excerpts from Baroque-era theorists and extensive commentaries on them. Sec-
tions on style, ornamentation, tempo, dynamics, and a number of instruments.
Important annotated bibliography, p.673–729. Donington also wrote a practi-
cal guide, in which vocal aspects get thorough attention: A Performer’s Guide
to Baroque Music(New York: Scribner, 1973). - Kivy, Peter. Authenticities: Philosophical Reflections on Musical Performance.
Ithaca, N.Y.: Cornell U.P., 1995. xiv, 199p. ISBN 0-8014-3046-1. ML457 .K58.
Kivy is concerned that historical authenticity has come to dominate “reasons
of the ear.” He finds no philosophical “defense of historical authenticity in
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