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The End of Early Music: A Period Performer's History of Music for the Twenty-First Century Hardcover – July 20, 2007

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Editorial Reviews


"Wide-ranging in its reference and powerful in its invigorating view of the "end" of early music. Hayne's informative text urges us onward with historical acumen, a performer's keen insight, and even more than a dollop of whimsy and wit. This is an End that we should hasten to begin."--Historic Brass Society Journal

"This is a thoughtful, entertaining, and important book by an expert who can write for both lay and professional readers."--J.P. Ambrose, CHOICE

"The End of Early Music is a must-read for anyone interested in the early music movement. Haynes goes on to urge all performers of rhetorical music to engage in more improvisation and personalization in their performances."-Maria Coldwell, Early Music America

"A wide-ranging, thought-provoking, enlightening and entertaining volume which has already been the source of a great deal of lively discussion among Early Music cognoscenti. It should be on the shelf of everyone concerned with Early Music, be as it performer, director, researcher or listener. It belongs as well in the library of every institution with an Early Music program. It is as timely a book as there could be on the subject in this day and age, and, as such, much needed and very welcome."-iThe Double Reed

"Haynes provides an invaluable service by framing the issue of performance style in clearly defined terms that set the parameters for the broader discussion that must occur if classical music is to maintain, or as some would say, regain its stature as a relevant artistic force.... While The End of Early Music is subtitles A Period Performer's History of Music for the Twenty-First Century, it should be read by any and al intereste in our musical past, present, or future."--David Dolata, MLA Notes

"'Early Music' (with its off-putting "scare-quotes") is dead; long live early music! Reading the mature reflections of one of the 'Early Music Movement's' important revolutionaries about the panorama of performing styles in today's musical world is both a pleasure and a challenge. Mr. Haynes's breadth and depth of learning and observation is admirable, but more important is his clear-minded yet passionate formulation of an artistic vision of creative musicianship for our time."--Stephen Stubbs, Northwest Center for Early Music Studies

"From one of the brightest lights in the field of baroque music comes yet another indispensable book. Only Haynes, a performer of great sensitivity and dedication to the 'project' of historical performance, only Haynes, a scholar of alacrity and dynamism, only Haynes, who for over thirty years has never stopped interrogating what we are doing when we approach the past in performance, only Haynes could have written a brilliant book for early music in the new millennium. It is thoughtful, iconoclastic, tender, and honest. This is the new Quantz-obligatory reading for everyone who cares about early music."--Kate van Orden, performer on historical instruments and Professor, University of California, Berkeley

"Haynes has made a series of subtle and important points for all listeners, musicians, all artists and potentially all art in fact, very well.... If you have anything but the most casual interest in music before 1800 and its most proper and effective performance, then this readable and well-argued book, which has a great balance of technical and non-technical illustrations for the practicing musician and listener alike, should not be ignored. Thoroughly recommended."--Mark Sealey, Classical Net

"Haynes's book...will be useful to students of historical performance practice and instructors of courses on that topic, not only for its extensive quotations and audio samples but for its lively, provocative style." --Journal of the American Musicological Society

About the Author

Recently retired as a performer, Bruce Haynes worked for many years in Holland. He introduced the hautboy into the Dutch music curriculum, teaching at the Royal Conservatory. Currently, he is Associate Professor in the Faculty of Music at the University of Montreal. He has published widely on the history of the oboe and performing pitch standards.

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Product Details

  • Hardcover: 304 pages
  • Publisher: Oxford University Press (July 20, 2007)
  • Language: English
  • ISBN-10: 0195189876
  • ISBN-13: 978-0195189872
  • Product Dimensions: 6.5 x 1 x 9.6 inches
  • Shipping Weight: 1.3 pounds (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #151,270 in Books (See Top 100 in Books)

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Customer Reviews

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Most Helpful Customer Reviews

12 of 12 people found the following review helpful By Grant Colburn on March 27, 2008
Format: Hardcover
Bruce Haynes has created a great book for those wishing to have a further understanding of not only what made baroque music "tick" in its own day, but what efforts are being made to keep it ticking today. His efforts to show how we are still searching for how baroque musicians actually thought about and played the music of their time through the hazy mist of Romanticism and modernism is an eye opener, right down to the unruly audiences at operas and the cheers during pieces while being played. Also the high degree of improvisation which was required for many pieces for them to truly take off as they were originally meant to.

Plus, near and dear to my heart is the section on modern period composition and the mention of Vox Saeculorum, a modern guild for period composers. The future of "early" music is definitely moving forward, probably in ways that many have never dreamt of....
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24 of 29 people found the following review helpful By M. De Sapio on February 28, 2009
Format: Hardcover
Bruce Haynes' THE END OF EARLY MUSIC is a book about the historical performance movement, its aims and philosophy and its place in the modern musical scene. Haynes traces HIP (historically informed performance) in history, contrasting its philosophy with the romantic mindset which preceded it (which included the notions of absolute music, canonism, and the "transparent performer"). But Haynes' book is not simply a polemic against "mainstream" (i.e. non-historically informed) ways of performing older music; he outlines and critiques different trends within HIP itself, coming down squarely on the side of what he calls the Eloquent Style, a "passionate oratorical manner...based on declamation and gestural phrasing".

Part I of the book is brilliant. Haynes outlines what he discerns as the three successive styles of playing early music in the 20th century. The grand romantic manner, with its swooping portamento and rhythmic liberties, was a carry-over from the previous century. In reaction to this, and influenced by the "objectivist" aesthetic of Stravinsky, a new "Modernist" style developed in the 1930's that was extremely precise, literalistic, and emotionally detached (this is the Academy of St. Martin-in-the-Fields variety of baroque performance). This style, stiff, mechanical, lacking in inflection, was far worse than Romantic Baroque; Haynes considers it an analogue to the mechanized standardization of the Industrial Revolution. The 1960's saw the beginnings of the Period Style which is now practiced by HIP musicians all over the world. Haynes further divides Period Style into two trends -Straight Style (or "Modern Lite", as he calls it), and the Eloquent Style, which Haynes feels represents the true baroque aesthetic.
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13 of 16 people found the following review helpful By 18th century flute on December 27, 2007
Format: Hardcover Verified Purchase
Bruce Haynes latest book "The End of Early Music" is superb, and applicable to those of us in the Period music field, as well as to all classical musicians and classical music organization administrators. As we all struggle for audience and relevance, this book can provide context and challenge. Recommended without any reservation.
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3 of 3 people found the following review helpful By Emily L. Ferguson on January 12, 2014
Format: Hardcover Verified Purchase
At first I couldn't stand this book. Every little section seemed to formulaically begin with someone else's opinion, a quote from some scholar or opinionator, as tho the author pulled a skillion little zingers out of years of reading and assembled them all as headings on every subject in the book.

Since reading Haskell's survey of the history of the Early Music Revival, I'm returning to this book and seeing it thru new eyes. The little zingers are still irritating, and the choice of musical examples (which you need to either own or track down or subscribe to) date the book (2007). But the premise is becoming more valid with every day as more and more performers are speaking this particular musical dialect natively and without coming to it from some other one (20C "classical" music dialect). The book addresses the full spectrum of issues in performance of the repertoire carefully and thoughtfully, especially from the basis of a long life of involvement with performance. So one finds chapters dealing with instruments, ornaments, sources, etc.

The point size of the font is very small, there is a lot of text to chew on and for middle-aged eyes it might be some work to do so, but give it a try. I believe the book is not intended for anything like a straight-thru reading.
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