JAVS Summer 2021

Dr. Chelsea Wimmer is a modern and Baroque violist and teacher based in New York City. She received her DMA from Stony Brook University in 2020, where she studied viola performance with Lawrence Dutton and historical performance with Arthur Haas and Erika Supria Honisch. In addition to historical performance, Dr. Wimmer is also an enthusiastic scholar and performer of contemporary music.

Hanning, Barbara Russano. “Music and the Arts.” In The Cambridge History of Seventeenth- Century Music , edited by Tim Carter and John Butt, 111-131. New York: Cambridge University Press, 2005. Holman, Peter. “Mystery Man. Peter Holman Celebrates the 350 th Anniversary of the Birth of Heinrich Biber.” The Musical Times 135, no. 1817 (July 1994): 437-411. Mather, Betty Bang. Dance Rhythms of the French Baroque . Bloomington, IN: Indiana University Press, 1987. Neumann, Frederick. Performance Practices of the Seventeenth and Eighteenth Centuries . New York: Schirmer Books, 1993. Ranum, Patricia M. The Harmonic Orator: The Phrasing and Rhetoric of the Melody in French Baroque Airs . Hillsdale, NY: Pendragon, 2001. Rose, Stephen. “Music in the Market-Place.” In The Cambridge History of Seventeenth-Century Music , edited by Tim Carter and John Butt, 55-87. New York: Cambridge University Press, 2005. Tarling, Judy. Baroque String Playing for Ingenious Learners . Hertfordshire, UK: Corda Music Publications, 2001. ———. TheWeapons of Rhetoric: A Guide for Musicians and Audiences . Hertfordshire, UK: Corda Music Publications, 2005. Wainwright, Jonathan and Peter Holman, eds. From Renaissance to Baroque: Change in Instruments and Instrumental Music in the Seventeenth Century . Burlington, VT: Ashgate Publishing Company, 2005. 1 Charles Brewer, The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries (Burlington, VT: Ashgate Publishing Company, 2011), 328-329. 2 John Butt, “The Seventeenth-Century Musical ‘Work’,” in The Cambridge History of Seventeenth-Century Music , ed. Tim Carter and John Butt (New York: Cambridge University Press, 2005), 36-41. 3 James Clements, “Aspects of the Ars Rhetorica in the Violin Music of Heinrich Biber (1644-1704),” PhD diss., (Royal Holloway, University of London, 2002), 105-106. Notes

Bibliography

Bartel, Dietrich. Musica Poetica: Musical-Rhetorical Figures in German Baroque Music . Lincoln, NE: University of Nebraska Press, 1997. Biber, Heinrich Ignaz Franz. Harmonia Artificiosa-Ariosa . Edited by Paul Nettl and Friedrich Reidinger. Vienna: Österreichischer Bundesverlag, 1956. ———. Harmonia Artificiosa-Ariosa, Partia VII. Edited by Chelsea Wimmer. 2018. Brewer, Charles E. The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries. Burlington, VT: Ashgate Publishing Company, 2011. Butt, John. Bach Interpretation: Articulation Marks in Primary Sources of J.S. Bach . New York, NY: Cambridge University Press, 1990. ———. “The Seventeenth-Century Musical ‘Work’.” In The Cambridge History of Seventeenth-Century Music , edited by Tim Carter and John Butt, 27-54. New York: Cambridge University Press, 2005. Carter, Tim. “Renaissance, Mannerism, Baroque.” In The Cambridge History of Seventeenth- Century Music , edited by Tim Carter and John Butt, 2-26. New York: Cambridge University Press, 2005. Chafe, Eric Thomas. The Church Music of Heinrich Biber . Ann Arbor, MI: UMI Research Press, 1987. Clements, James. “Aspects of the Ars Rhetorica in the Violin Music of Heinrich Biber (1644-1704).” PhD diss., Royal Holloway, University of London, 2002. Considine, Karen A. “Interpreting the Style and Context of Heinrich Ignaz Franz Biber’s Harmonia Artificioso Ariosa .” MM thesis, Youngstown State University, 2015. Dann, Elias. Heinrich Biber and the Seventeenth Century Violin . Ann Arbor, MI: University Microfilms, 1971. Dickey, Bruce. “Ornamentation in Early Seventeenth- Century Italian Music.” Chap. 16 in A Performer’s Guide to Seventeenth-Century Music . Bloomington, IN: Indiana University Press, 2012.

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

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