The Cambridge history of musical performance:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge [u.a.]
Cambridge Univ. Press
2012
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Hier auch später erschienene, unveränderte Nachdrucke. - Literaturverz. S. 834 - 893 |
| Beschreibung: | XXVI, 906 S. Ill., graph. Darst., Notenbeisp. |
| ISBN: | 9780521896115 |
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Datensatz im Suchindex
| _version_ | 1804148413656203264 |
|---|---|
| adam_text | Contents
List of illustrations
ix
List of musical examples
χ
Notes on contributors
xiii
Editors* preface
xxi
PART I PERFORMANCE THROUGH
HISTORY l
ι
·
Performance today
3
NICHOLAS KENYON
2 ·
Political process, social structure and musical
performance in Europe since
1450 35
WILLIAM WEBER
3 ·
The evidence
63
ROBIN STOWELL
4 ·
The performer and the composer
105
COREY JAMASON
5 ·
The teaching of performance
І35
NATASHA
LOGES
AND COLIN LAWSON
6 ·
Music and musical performance: histories in disjunction?
169
DAVID WRIGHT
PART II PRE-RENAISSANCE
PERFORMANCE
207
7 ·
The Ancient World
209
ELEONORA ROCCONI
8 ·
Performance before
с
1430:
an overview
JOHN
HAINES
[V]
vi
Contents
9 ·
Vocal performance
before
с.
1430 248
JEREMY SUMMERLY
10 ·
Instrumental performance before
с
1430
i6i
STEFANO
MENGOZZI
11 ·
Case study:
Guillaume de
Machaut,
ballade
34,
Quant Theseus
/
Ne
quier veoir 2J9
JOHN
HAINES
PART III PERFORMANCE IN THE RENAISSANCE
(C. I43O-16OO) 25»5
12 ■
Performance in the Renaissance: an overview
297
JON BANKS
13 ·
Vocal performance in the Renaissance
318
TIMOTHY J. McGEE
14 ·
Instrumental performance in the Renaissance
335
KEITH POLK
15 ·
Case study: Seville Cathedral s music in performance,
1549-!599 353
OWEN
REES
PART IV PERFORMANCE IN THE SEVENTEENTH
CENTURY
16 ·
Performance in the seventeenth century: an overview
TIM CARTER
17 ·
Vocal performance in the seventeenth century
RICHARD WISTREICH
18 ·
Instrumental performance in the seventeenth century
421
DAVID PONSFORD
19 ■
Case study: Monteverdi, Vespers
(1610) 448
JONATHAN P. WAINWRIGHT
Contents
vii
PART V PERFORMANCE IN THE LONG
EIGHTEENTH CENTURY3
471
20 ·
Performance in the long eighteenth century : an overview
473
simón
mcveigh
21 ·
Vocal performance in the long eighteenth century
506
JOHN POTTER
22 ·
Instrumental performance in the long eighteenth century
¡27
PETER WALLS
23 ·
Case study. Mozart, Symphonies in
E
flat major K543,
G
minor K550
and
С
major K551
552
COLIN LAWSON
PART VI PERFORMANCE IN THE NINETEENTH
CENTURY
575
24 ·
Performance in the nineteenth century: an overview
$77
MICHAEL MUSGRAVE
25 ·
Vocal performance in the nineteenth century
611
WILL CRUTCHFIELD
26 ·
Instrumental performance in the nineteenth century
643
IAN PACE
27 ·
Case study: Richard Wagner, Tristan
und
Isolde
696
ROBIN STOWELL
PART
VII
THE TWENTIETH CENTURY AND
BEYOND
/23
28 ·
Musical performance in the twentieth century and beyond: an
overview
725
STEPHEN COTTRELL
29 ·
Vocal performance in the twentieth century and beyond
752
JANE MANNING AND ANTHONY PAYNE
viii Contents
30 ·
Instrumental
performance
in the twentieth century and beyond jj8
ROGER HEATON
31 ·
Case study:
Karlheinz Stockhausen, Gruppen für drei Orchester 798
WILLIAM MIVAL
PART VIII 815
32 ·
The future?
8ιγ
COLIN LAWSON AND ROBIN STOWELL
Select bibliography
834
Index 894
The intricacies and challenges of musical
performance have recently attracted the
attention of writers and scholars to a
greater extent than ever before. Research
into the performer s experience has begun
to explore such areas as practice
techniques, performance anxiety and
memorisation, as well as many other
professional issues. Historical performance
practice has been the subject of lively
debate way beyond academic circles,
mirroring its high profile in the recording
studio and the concert hall. Reflecting the
strong ongoing interest in the role of
performers and performance, this History
brings together research from leading
scholars and historians, and, importantly,
features contributions from accomplished
performers, whose practical experiences
give the volume a unique vitality. Moving
the focus away from the composers and
onto the musicians responsible for bringing
the music to life, the History presents a
fresh, integrated and innovative perspective
on performance history and practice, from
the earliest times to today.
COLIN LAWSON is Director of the
Royal College of Music, London. He has
an international profile as a period clarinettist
and has played principal in most of Britain s
leading period orchestras, notably The
Hanover Band, the English Concert and the
London Classical Players, with whom he has
recorded extensively and toured worldwide.
He has published widely, and is co-editor,
with Robin Stowell, of a series of Cambridge
Handbooks to the Historical Performance
of Music, for which he co-authored an
introductory volume and contributed a
book on the early clarinet.
ROBIN STOWELL is Professor of Music
and Director of the Centre for Research
into Historically Informed Performance at
Cardiff University. He is also a violinist
/
period violinist, and he has performed,
broadcast and recorded with the Academy of
Ancient Music and other period ensembles.
He is the author of Violin Technique and
Performance Practice in the Late Eighteenth
and Early Nineteenth Centuries
(1985),
and
his more recent major publications include
The Cambridge Companion to the String
Quartet
(2003)
and The Early Violin
and Viola
(zooi).
PRINTED IN THE UNITED KINGDOM
|
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| discipline | Musikwissenschaft |
| edition | 1. publ. |
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| title | The Cambridge history of musical performance |
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| title_full | The Cambridge history of musical performance Colin Lawson and Robin Stowell |
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