Alba 1

Ariel Eduardo Alba

Prof. McEachin

ENGL 1302

October 23, 2017

Annotated Works Cited

Winzenburger, Walter P. "Meter and Tempo Indications in Music of the Early Baroque." Bach, vol. 3,
no. 1, Jan. 1972, pp. 13-21. EBSCOhost,
search.ebscohost.com/login.aspx?direct=true&AuthType=ip,sso&db=a9h&AN=92034472&site=
ehost-live&custid=s6224580.

Rubinoff, Kailan R. "(Re)Creating the Past: Baroque Improvisation in the Early Music Revival." New
Sound: International Magazine for Music, no. 32, Dec. 2008, pp. 79-93. EBSCOhost,
search.ebscohost.com/login.aspx?direct=true&AuthType=ip,sso&db=a9h&AN=43822356&site=
ehost-live&custid=s6224580.

Hammel, Maria. "The Figured-Bass Accompaniment in Bach's Time: A Brief Summary of Its
Development and an Examination of Its Use, Together with a Sample Realization, Part I." Bach,
vol. 8, no. 3, July 1977, pp. 26-31. EBSCOhost,
search.ebscohost.com/login.aspx?direct=true&AuthType=ip,sso&db=a9h&AN=92019823&site=
ehost-live&custid=s6224580.

Donington, Robert. Baroque Music: Style and Performance: A Handbook. New York: Norton, 1982.

Print.

Baroque Music provides a general grasp of the baroque performing style, discussing elements

like tempo, ornamentation, improvisation, among others including notated examples of

ornamentation. This text includes references from several theorists from the baroque period as

Johann Joachim Quantz, Carl Philip Emmanuel Bach, Jean-Philippe Rameau, to name a few.
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Croton, Peter. Performing Baroque Music on the Classical Guitar: a practical handbook based on

historical sources. Ed. Roger Harmon. CreateSpace, 2015. Print.

Croton provides a glance at historical context, discusses the principles of baroque historical

practice and their application to the modern classical guitar. A more detailed explanation of

ornamentation styles based on geographical origin (Italian, French, etc.), dance forms, practical

considerations for figured-bass, and touches on improvisation with the