Index to Discussions of General Topics
Part 5: Performance Practice

Performance Practice:

Acoustics: Part 1 | Part 2
Articulation/Phrasing
Audibility
Authenticity
Conducting Bach
Correctness: Part 1 | Part 2
Effusiveness
Encountering Bach Today: Historical, Listening, Post-Modern (Jan 31, 2020)
Expressivity & Expression
Dynamics
Harmonic Rhythm
Harmony
Freedom of Expression
HIP (Historically Informed Performance): Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18
Improvisation
Interpretation
Memorizing
Musicianship
Musicology vs. Performance
Notes Value
Ornamentation
Particularity, Objectivity, Subjectivity, Peculiarity
Perfect Execution / Precision / Perfection: Part 1 | Part 2 | Part 3
Perfect Pitch
Practicing
Pronunciation: Part 1 | Part 2 | Part 3
Rehearsing: Part 1 | Part 2 | Part 3 | Part 4
Repeats
Scholarship
Second Thoughts about Bach
Singing Bach vs. Other Composers
Singing Style
Sight-Reading
Solo parts sung by more than one vocalist
Speed Freaks Do Bach
Taste in Music
Technical Matters
Tempo: Part 1 | Part 2
Temperament / Key Character / Tuning: Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Meantone
Transposing
Performance of Bach’s Vocal Works: Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19
General Guide to approaching musical ideas

Prepared by Aryeh Oron (November 2000 - April 2021)