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The Mid-Twentieth-Century Concert Pianist
Julian Hellaby examines how British pianists active in the middle years of the last century started, built and sustained their careers. Hellaby examines the role of debut recitals, competitions, auditions, interviews, agents, broadcasts, recordings, music clubs, orchestral work, style, image, management and artist promotion within the UK.
Musical Topics and Musical Performance
The principal purpose of topics in musicology has been to identify meaning-bearing units within a musical composition that would have been understood by contemporary audiences and therefore also by later receivers, albeit in a different context and with a need for historically aware listening. Since Leonard Ratner (1980) introduced the idea of topics, his relatively simple ideas have been expanded and developed by a number of distinguished authors. Topic theory has now become a well-established branch of musicology, often embracing semiotics, but its relationship to performance has received less attention. Musical Topics and Musical Performance thus focuses on the interface of theory and pra...
A Musicology of Performance
This book examines the nature of musical performance. In it, Dorottya Fabian explores the contributions and limitations of some of these approaches to performance, be they theoretical, cultural, historical, perceptual, or analytical. Through a detailed investigation of recent recordings of J. S. Bach’s Six Sonatas and Partitas for Solo Violin, she demonstrates that music performance functions as a complex dynamical system. Only by crossing disciplinary boundaries, therefore, can we put the aural experience into words. A Musicology of Performance provides a model for such a method by adopting Deleuzian concepts and various empirical and interdisciplinary procedures. Fabian provides a case s...
Women in Convent Spaces and the Music Networks of Early Modern Barcelona
This book presents the first study of music in convent life in a single Hispanic city, Barcelona, during the early modern era. Exploring how convents were involved in the musical networks operating in sixteenth-century Barcelona, it challenges the invisibility of women in music history and reveals the intrinsic role played by nuns and lay women in the city’s urban musical culture. Drawing on a wide range of archival sources, this innovative study offers a cross-disciplinary approach that not only reveals details of the rich musical life in Barcelona’s nunneries, but shows how they took part in wider national and transnational networks of musical distribution, including religious, commerc...
A Taxonomical Framework for Evaluating Piano Performances
In the age of online music, the repertoire and the number of recordings that we can listen to have enormously expanded. Modern-day ears are filled with a huge variety of performance styles, from Vladimir Horowitz’s expressive Mozart to Glenn Gould’s articulated Bach. Nevertheless, musicians and musicologists seem to find it difficult, if not impossible, to put what they hear into words. This book constructs a taxonomical framework through which six important aspects of tempo can be evaluated. To assess the extent to which performers embody these aspects in their performances, it analyses 30 recordings of three solo piano pieces in depth: two by Chopin and one by Liszt. Case studies of two pianists―Valentina Lisitsa and Lars Vogt―show that the framework can precisely describe and accurately evaluate a performer’s style of tempo and tempo variation. This book contributes to the reader’s understanding of the constituent features of tempo and will deepen their knowledge of individuality and commonality in piano performance styles.
Embodied Knowledge in Ensemble Performance
Performing in musical ensembles provides a remarkable opportunity for interaction between people. When playing a piece of music together, musicians contribute to the creation of an artistic work that is shaped through their individual performances. However, even though ensembles are a large part of musical activity, questions remain as to how they function. In Embodied Knowledge in Ensemble Performance, Murphy McCaleb explores the processes by which musicians interact with each other through performance.
Sounds from Within: Phenomenology and Practice
This book transforms phenomenology, music, technology, and the cultural arts from within. Gathering contributions by performing artists, media technology designers, nomadic composers, and distinguished musicological scholars, it explores a rich array of concepts such as embodiment, art and technology, mindfulness meditation, time and space in music, self and emptiness, as well as cultural heritage preservation. It does so via close studies on music phenomenology theory, works involving experimental music and technology, and related cultural and historical issues. This book will be of considerable interest to readers from the fields of sound studies, science and technology studies, phenomenology, cultural studies, media studies, and sound art theory. This book is equally relevant and insightful for musicians, composers, media artists, sound artists, technology designers, and curators and arts administrators from the performing and visual arts.
Music and the Modern Condition: Investigating the Boundaries
Two crucial moments in the formation and disintegration of musical modernity and the musical canon occurred at the turn of the seventeenth and the first half of the twentieth century. Dr Ljubica Ilic provides a fresh and close look at these moments, exploring the ways musical compositions shift to and away from ideological structures identified with modernity. The focus is on European art music whose grand narrative, defined by tonality and teleological development, begins in the seventeenth century and ends with twentieth-century modernisms. This particular musical "language game" coincides with historical changes in the phenomenological understanding of space and selfhood. A key concept of...
Reading Musical Interpretation
Performance studies in the Western art music tradition have often been dominated by the relationship of theoretical score-analysis to performance. This book presents a structured approach to analyzing the interpretation of a musical work from the perspective of a musically informed listener.
New Perspectives on Music and Gesture
Building on the insights of the first volume on Music and Gesture (Gritten and King, Ashgate 2006), the rationale for this sequel volume is twofold: first, to clarify the way in which the subject is continuing to take shape by highlighting both central and developing trends, as well as popular and less frequent areas of investigation; second, to provide alternative and complementary insights into the particular areas of the subject articulated in the first volume. The thirteen chapters are structured in a broad narrative trajectory moving from theory to practice, embracing Western and non-Western practices, real and virtual gestures, live and recorded performances, physical and acoustic gestures, visual and auditory perception, among other themes of topical interest. The main areas of enquiry include psychobiology; perception and cognition; philosophy and semiotics; conducting; ensemble work and solo piano playing. The volume is intended to promote and stimulate further research in Musical Gesture Studies.
