«Ordinary» articulation: term and concept

- · 13.01.2026

Original article
DOI: 10.56620/2227-9997-2025-4-132-142

Yulia V. Glazkova

N. A. Rimsky-Korsakov Saint Petersburg State Conservatory, Saint Petersburg, Russia,
july-yufereva@mail.ru, https://orcid.org/0000-0001-6348-2551
Abstract: The wide introduction of historical performance practices into the contemporary art of musical interpretation requires an appropriate terminological apparatus. One of the most characteristic features of the performance of keyboard music in the 17th–18th centuries in most European countries is a special finely differentiated articulation, which was not written out in the musical text, but was always used when playing. Due to the fact that this manner was the only professional way of playing the keyboard at the time, there was no special name for it in the era when it was in use. The article solves the problem of finding a Russian-language term that would accurately and vividly name the considered method of pronouncing musical text. The author relies on the description of this manner of playing in three significant treatises of the 18th century, the authors of which were Dom Bedos de Celles, F. W. Marpurg and D. G. Türk, analyzes them and comes to the summary term «ordinary articulation». The term is intended to help contemporary Russian musicians in their professional communication and teaching practices, as well as musicologists to easily use this concept in research devoted to issues of historically informed performance of keyboard music of the Baroque era.

Keywords: organ, clavier, authenticity, historically informed performance, articulation, Bedos (dom) de Celles, Marpurg, Türk

For citation: Glazkova Yu. V. «Ordinary» articulation: term and concept. Scholarly papers of Gnesin Russian Academy of Music. 2025;(4):132-142. (In Russ.). DOI: 10.56620/2227-9997-2025-4-132-142
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