Musicians Speak First-Hand about Music History and Performance John C. Tibbetts, Michael Saffle, William A. Everett. In performance terms, when did the Middle Ages really end? An important characteristic of medieval performance was ...
Author: John C. Tibbetts
Category: Social Science
Performing Music History offers a unique perspective on music history and performance through a series of conversations with women and men intimately associated with music performance, history, and practice: the musicians themselves. Fifty-five celebrated artists—singers, pianists, violinists, cellists, flutists, horn players, oboists, composers, conductors, and jazz greats—provide interviews that encompass most of Western music history, from the Middle Ages to contemporary classical music, avant-garde innovations, and Broadway musicals. The book covers music history through lenses that include “authentic” performance, original instrumentation, and social context. Moreover, the musicians interviewed all bring to bear upon their respective subjects three outstanding qualities: 1) their high esteem in the music world as immediately recognizable names among musicians and public alike; 2) their energy and devotion to scholarship and the recovery of endangered musical heritages; and 3) their considerable skills, media savvy, and showmanship as communicators. Introductory essays to each chapter provide brief synopses of historical eras and topics. Combining careful scholarship and lively conversation, Performing Music History explores historical contexts for a host of fascinating issues.
Author: Aaron (Professor of Performance Science Williamon, Professor of Performance Science Royal College of Music)Publish On: 2021-01-21
Methods in Music Education, Psychology, and Performance Science Aaron (Professor of Performance Science Williamon ... It may be thought that archival research is more appropriate to disciplines such as musicology or performance history; ...
Author: Aaron (Professor of Performance Science Williamon, Professor of Performance Science Royal College of Music)
Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.
PREFACE The value of historical documents in any area is incontrovertible ; for music history and the performance of music they are of particular importance . The current , ever - increasing interest in the performance of music in ...
Author: Jennifer Cross
Publisher: Indiana University Press
..". extremely useful... In MacClintock's selections, even when the source is primarily theoretical, she chooses passages that give a lively insight into actual music-making."A -- Continuo Readings on the performance of Western music from the late middle ages to the early nineteenth century describe the accepted conventions and actual practices of former times.
1 Life before Recordings L Most recently in Timothy Day's A Century of Recorded Music: Listening to Musical History (New Haven and London, 2000). L Max Graf, Legend of a Musical City (New York, 1945; reprinted, 1969), p.
Author: Robert Philip
Publisher: Yale University Press
Listeners have enjoyed classical music recordings for more than a century, yet important issues about recorded performances have been little explored. What is the relationship between performance and recording? How are modern audiences affected by the trends set in motion by the recording era? What is the impact of recordings on the lives of musicians? In this wide-ranging book, Robert Philip extends the scope of his earlier pioneering book, "Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900-1950." Philip here considers the interaction between music-making and recording throughout the entire twentieth century. The author compares the lives of musicians and audiences in the years before recordings with those of today. He examines such diverse and sometimes contentious topics as changing attitudes toward freedom of expression, the authority of recordings made by or approved by composers, the globalization of performing styles, and the rise of the period instrument movement. Philip concludes with a thought-provoking discussion of the future of classical music performance.
Rowland , D. , A History of Pianoforte Pedalling ( Cambridge , 1993 ) Rushton , J. , The Musical Language of Berlioz ( Cambridge , 1983 ) Sadie , S. , see Brown , H. M. Saint - Saëns , C. , “ The execution of classical works : notably ...
Author: Colin Lawson
Publisher: Cambridge University Press
A 1999 overview of historical performance, surveying issues and suggesting future developments.
In this way of conceiving of “history,” the performer's “free” creative and/or autonomous contribution is ... in the process of taking historical information as factual and then using it to contribute to present-moment music-making.
Author: Nancy November
Publisher: Academic Studies PRess
The fifteen essays of Performing History glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. This book’s chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that “tell,” “enact,” or “perform” war histories; operatic works that works that “tell,” “enact,” or “perform” power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading “between the lines” to access other voices than those provided by mainstream interpretation or traditional musicology.
Author: Beth Abelson MacleodPublish On: 2000-12-01
Musical Courier , January 31 , 1906 , p . 24 . “ Miss Brico and Her Woman's Symphony . ” New Yorker , MSS 1457 , Box 51 , Colorado Historical Society . “ Miss Brico Triumphs as Berlin Conductor . ” New York Times , February 15 ...
Author: Beth Abelson Macleod
Category: Social Science
This book explores the experiences of women from the late nineteenth and early twentieth centuries who pursued careers as public performers, charting a new course in an era when women's musical activities were generally consigned to the parlor. Certain instruments had historically evolved as "appropriate for women," and the flamboyant personalities and extroverted emotionalism of Romantic virtuosos and conductors were the antithesis of those qualities traditionally admired in women. However, this work presents an unusual group of young women who nonetheless became noted virtuosos, studying abroad as teenagers and touring North America upon their return. Detailed profiles are given of three remarkable musicians from among that unusual group: Fannie Bloomfield-Zeisler (1863-1927)--virtuoso pianist, wife and mother; Ethel Leginska (1886-1970)--pianist, conductor, and 1920s "new woman"; and Antonia Brico (1902-1989)--conductor and transitional figure to the late twentieth century. A concluding chapter contrasts the experiences of women classical musicians in the late nineteenth and the late twentieth centuries. Included are a number of photographs and drawings which impart the perceptions of audiences and critics of the stage presence of these performers.
“Performance and Analysis in Practice: A Study of Maurice Ravel's Valses nobles et sentimentales, Miroirs, and Gaspard de la nuit.” PhD thesis, University of York, 2006. ... A Century of Recorded Music: Listening to Musical History.
Author: Lesley A. Wright
Perspectives on the Performance of French Piano Music offers a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and active performers who see performance not as an independent activity but as a practice enriched by a wealth of historical and analytical approaches. To underline the usefulness of contextual understanding for performance, each author highlights the choices performers must confront with examples drawn from particular repertoires and composers. Topics explored include editorial practice, the use of early recordings, emergent disciplines such as analysis-and-performance, and traditions passed down from teacher to student. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinary frameworks. A link to a set of performed examples on the frenchpianomusic.com website allows readers to hear and compare performances and interpretations of the music discussed. The volume will appeal to musicologists and analysts interested in performance, performers, students, and piano teachers.
And even if we had audio evidence of composers performing their own music, we might not conclude that this would be the only or best way of rendering the piece. What matters is lifelong curiosity about context: historical, biographical, ...
Author: Gary McPherson
Publisher: Oxford University Press
"Volume 2 of the Oxford Handbook of Music Performance is designed around four distinct sections: Enhancements, Health and Wellbeing, Science, and Innovations. Chapters on the popular Feldenkrais method and Alexander technique open the volume, and these lead to chapters on peak performance and mindfulness, stage behavior, impression management and charisma, enhancing music performance appraisal, and how to build a career and the skills and competencies needed to be successful. The section dealing with health and wellbeing surveys the brain mechanisms involved in music learning and performing and musical activities in people with disabilities, performance anxiety, diseases and health risks in instrumentalists, hearing and voice, and finally, a discussion of how to promote a healthy related lifestyle. The first six chapters of the Science section cover the basic science underlying the operation of wind, brass, string instruments, and the piano, and two chapters covering the solo voice and vocal ensembles. The final two chapters explain digital musical instruments and the practical issues that researchers and performers face when using motion capture technology to study movement during musical performances. The four chapters of the Innovations section address the types of technological and social and wellbeing innovations that are reshaping how musicians conceive their performances in the twenty-first century"--
... in Publication Data The sounds and sights of performance in early music: essays in honour of Timothy J. McGee. 1. Performance practice (Music)–History–To 1500. 2. Performance practice (Music)– History–16th century. 3. Musical ...
Author: BrianE. Power
The experience of music performance is always far more than the sum of its sounds, and evidence for playing and singing techniques is not only inscribed in music notation but can also be found in many other types of primary source materials. This volume of essays presents a cross-section of new research on performance issues in music of the Middle Ages and Renaissance. The subject is approached from a broad perspective, drawing on areas such as dance history, art history, music iconography and performance traditions from beyond Western Europe. In doing so, the volume continues some of the many lines of inquiry pursued by its dedicatee, Timothy J. McGee, over a lifetime of scholarship devoted to practical questions of playing and singing early music. Expanding the bases of inquiry to include various social, political, historical or aesthetic backgrounds both broadens our knowledge of the issues pertinent to early music performance and informs our understanding of other cultural activities within which music played an important role. The book is divided into two parts: 'Viewing the Evidence' in which visually based information is used to address particular questions of music performance; and 'Reconsidering Contexts' in which diplomatic, commercial and cultural connections to specific repertories or compositions are considered in detail. This book will be of value not only to specialists in early music but to all scholars of the Middle Ages and Renaissance whose interests intersect with the visual, aural and social aspects of music performance.