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An elegantly collected set of historical texts with the evaluation of their application to real problems in musical performance. But by considering what we used to call 'purely musical' problems in wider philosophical and cultural contexts, the author also raises a number of important and fascinating questions of relevance to more than just performers with an interest in historical approaches. . . . Affords us (the opportunity) to reread -- and rehear -- familiar music in the light of these (eighteenth-century) writings. . . . The delicate web of connections Vial draws . . . (between the details of musical performance and) the female-dominated world of the salon is a real scholarly coup. . . The University of Rochester Press . . . (has) produced a book that is elegant, well indexed and easy to read. EIGHTEENTH-CENTURY MUSIC (Thomas Irvine) Student of all music in the Classical style should find useful (Vial's) explanations on how to decipher . . . musical notation. BEETHOVEN JOURNAL (Patricia Stroh) The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period goes right to the heart of one of the thorniest issues of eighteenth-century performance practice: articulated musical language. Vial beautifully disentangles the confusion regarding notions of articulation, pauses, rests, and phrase marks, tying them all together in an all-embracing, brilliant manner. This is inspired scholarship, essential reading. --Malcolm Bilson, Cornell University What exactly is the connection between punctuation, slurring and phrasing? What difference did the Classical period's domination by the two- and four-bar phrase make to performance practices that had once varied more between the genres?. . . Ms Vial touches in a lively manner on such topics, scattering her net wide. . . Certain details important for performers. . . are better discussed in a masterclass than a book, but the rest is amply covered (here). MUSICAL TIMES (Peter Williams) Provides the reader with insights into how eighteenth-century artists may have approached their performances. . . . Vial's imaginative discussions . . . are inspired and will be of interest to any performer of the music of this era . . . (and to) musicologists, theorists, and cultural historians. JOURNAL OF MUSICOLOGICAL RESEARCH (Donald R. Boomgaarden)

An elegantly collected set of historical texts with the evaluation of their application to real problems in musical performance. But by considering what we used to call 'purely musical' problems in wider philosophical and cultural contexts, the author also raises a number of important and fascinating questions of relevance to more than just performers with an interest in historical approaches. . . . Affords us [the opportunity] to reread -- and rehear -- familiar music in the light of these [eighteenth-century] writings. . . . The delicate web of connections Vial draws . . . [between the details of musical performance and] the female-dominated world of the salon is a real scholarly coup. . . The University of Rochester Press . . . [has] produced a book that is elegant, well indexed and easy to read. EIGHTEENTH-CENTURY MUSIC [Thomas Irvine] Student of all music in the Classical style should find useful [Vial's] explanations on how to decipher . . . musical notation. BEETHOVEN JOURNAL [Patricia Stroh] The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period goes right to the heart of one of the thorniest issues of eighteenth-century performance practice: articulated musical language. Vial beautifully disentangles the confusion regarding notions of articulation, pauses, rests, and phrase marks, tying them all together in an all-embracing, brilliant manner. This is inspired scholarship, essential reading. --Malcolm Bilson, Cornell University What exactly is the connection between punctuation, slurring and phrasing? What difference did the Classical period's domination by the two- and four-bar phrase make to performance practices that had once varied more between the genres?. . . Ms Vial touches in a lively manner on such topics, scattering her net wide. . . Certain details important for performers. . . are better discussed in a masterclass than a book, but the rest is amply covered [here]. MUSICAL TIMES [Peter Williams] Provides the reader with insights into how eighteenth-century artists may have approached their performances. . . . Vial's imaginative discussions . . . are inspired and will be of interest to any performer of the music of this era . . . [and to] musicologists, theorists, and cultural historians. JOURNAL OF MUSICOLOGICAL RESEARCH [Donald R. Boomgaarden]

An elegantly collected set of historical texts with the evaluation of their application to real problems in musical performance. But by considering what we used to call 'purely musical' problems in wider philosophical and cultural contexts, the author also raises a number of important and fascinating questions of relevance to more than just performers with an interest in historical approaches. . . . Affords us [the opportunity] to reread -- and rehear -- familiar music in the light of these [eighteenth-century] writings. . . . The delicate web of connections Vial draws . . . [between the details of musical performance and] the female-dominated world of the salon is a real scholarly coup. . . The University of Rochester Press . . . [has] produced a book that is elegant, well indexed and easy to read. EIGHTEENTH-CENTURY MUSIC [Thomas Irvine] Student of all music in the Classical style should find useful [Vial's] explanations on how to decipher . . . musical notation. BEETHOVEN JOURNAL [Patricia Stroh] The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period goes right to the heart of one of the thorniest issues of eighteenth-century performance practice: articulated musical language. Vial beautifully disentangles the confusion regarding notions of articulation, pauses, rests, and phrase marks, tying them all together in an all-embracing, brilliant manner. This is inspired scholarship, essential reading. --Malcolm Bilson, Cornell University What exactly is the connection between punctuation, slurring and phrasing? What difference did the Classical period's domination by the two- and four-bar phrase make to performance practices that had once varied more between the genres?. . . Ms Vial touches in a lively manner on such topics, scattering her net wide. . . Certain details important for performers. . . are better discussed in a masterclass than a book, but the rest is amply covered [here]. MUSICAL TIMES [Peter Williams] Provides the reader with insights into how eighteenth-century artists may have approached their performances. . . . Vial's imaginative discussions . . . are inspired and will be of interest to any performer of the music of this era . . . [and to] musicologists, theorists, and cultural historians. JOURNAL OF MUSICOLOGICAL RESEARCH [Donald R. Boomgaarden]

The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period goes right to the heart of one of the thorniest issues of eighteenth-century performance practice: articulated musical language. Vial beautifully disentangles the confusion regarding notions of articulation, pauses, rests, and phrase marks, tying them all together in an all-embracing, brilliant manner. This is inspired scholarship, essential reading. -- Malcolm Bilson, Cornell University

An elegantly collected set of historical texts with the evaluation of their application to real problems in musical performance. But by considering what we used to call 'purely musical' problems in wider philosophical and cultural contexts, the author also raises a number of important and fascinating questions of relevance to more than just performers with an interest in historical approaches. . . . Affords us (the opportunity) to reread -- and rehear -- familiar music in the light of these (eighteenth-century) writings. . . . The delicate web of connections Vial draws . . . (between the details of musical performance and) the female-dominated world of the salon is a real scholarly coup. . . The University of Rochester Press . . . (has) produced a book that is elegant, well indexed and easy to read. EIGHTEENTH-CENTURY MUSIC (Thomas Irvine) Student of all music in the Classical style should find useful (Vial's) explanations on how to decipher . . . musical notation. BEETHOVEN JOURNAL (Patricia Stroh) The Art of Musical Phrasing in the Eighteenth Century: Punctuating the Classical Period goes right to the heart of one of the thorniest issues of eighteenth-century performance practice: articulated musical language. Vial beautifully disentangles the confusion regarding notions of articulation, pauses, rests, and phrase marks, tying them all together in an all-embracing, brilliant manner. This is inspired scholarship, essential reading. --Malcolm Bilson, Cornell University What exactly is the connection between punctuation, slurring and phrasing? What difference did the Classical period's domination by the two- and four-bar phrase make to performance practices that had once varied more between the genres?. . . Ms Vial touches in a lively manner on such topics, scattering her net wide. . . Certain details important for performers. . . are better discussed in a masterclass than a book, but the rest is amply covered (here). MUSICAL TIMES (Peter Williams) Provides the reader with insights into how eighteenth-century artists may have approached their performances. . . . Vial's imaginative discussions . . . are inspiretists may have approached their performances. . . . Vial's imaginative discussions . . . are inspired and will be of interest to any performer of the music of this era . . . (and to) musicolo

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