Year: 1988
Type: article
Abstract: In reviews of recorded performances by others of Le sacre du printemps, Stravinsky contradicted his metronome markings and his own recorded performance tempos. His preferred tempos in the reviews encompass a range wider than the markings imply, yet more narrow than his own performance tempos suggest.
Source: Performance Practice Review
Author: Erica Heisler Buxbaum
Institution: Claremont Colleges
Language: English
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: bronze
OpenAlex ID: W2061431844