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Casadesus, Henri
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Bordes, Charles
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Cornetti e tromboni in the high Renaissance and Baroque
Get PDFReview of the following recordings: Giovanni Gabrieli: Sacred symphonies (Hyperion cda67957); Giovanni Gabrieli: Sacrae symphoniae (Accent acc24282); Venise sur Garonne (Flora flo3314); Giovanni Battista Fontana, Giovanni Gabrieli: Sonate & canzone (Accent acc24250); L’Arte dei Piffari: Cornetts and sackbuts in early Baroque Italy (Pan Classics pc10332); Trombone grande: Music for bass sackbut around 1600 (Accent acc24263)
Academy of Ancient Music (twentieth century); Berr, Frédéric; English Baroque Soloists; Florilegium; Gardiner, John Eliot
No full textEntries in The Cambridge Encyclopedia of Historical Performance in Music as follows: Academy of Ancient Music (twentieth century) (pp.2-3); Berr, Frédéric (pp.75-76); English Baroque Soloists (pp.214-215); Florilegium (pp.239-240); Gardiner, John Eliot (pp.261-262).
Description of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Quantz, Joseph Joachim
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Music students' perceptions, attitudes and behaviours toward health
No full textResearch investigating how music students consider and address their mental and physical wellbeing. Read the full report: Araújo L, Wasley D, Perkins R, Atkins L, Redding E, Ginsborg J, & Williamon A (2017), Fit to perform: an investigation of higher education music students’ perceptions, attitudes, and behaviors toward health, Frontiers in Psychology, 8 (1558), 1-19. http://dx.doi.org/10.3389/fpsyg.2017.01558. See also http://researchonline.rcm.ac.uk/id/eprint/286/
BBC Radio 3 record review: building a library: Schumann's Symphony No. 4
No full textWilliam Mival discusses recordings of Schumann's Symphony No. 4 in D minor in this programme broadcast on 2 June 2018. This discussion is also available (UK only) on the Record Review Podcast, see https://www.bbc.co.uk/programmes/p0692gvj
The effects of mother-infant singing on emotional closeness, affect, anxiety, and stress hormones
Get PDFAmong mammals who invest in the production of a relatively small number of offspring, bonding is a critical strategy for survival. Mother–infant bonding among humans is not only linked with the infant’s survival but also with a range of protective psychological, biological, and behavioral responses in both mothers and infants in the post-birth period and across the life span. Anthropological theories suggest that one behavior that may have evolved with the aim of enhancing mother–infant bonding is infant-directed singing. However, to date, despite mother–infant singing being practiced across cultures, there remains little quantitative demonstration of any effects on mothers or their perceived closeness to their infants. This within-subjects study, comparing the effects of mother–infant singing with other mother–infant interactions among 43 mothers and their infants, shows that singing is associated with greater increases in maternal perceptions of emotional closeness in comparison to social interactions. Mother–infant singing is also associated with greater increases in positive affect and greater decreases in negative affect as well as greater decreases in both psychological and biological markers of anxiety. This supports previous findings about the effects of singing on closeness and social bonding in other populations. Furthermore, associations between changes in closeness and both affect and anxiety support previous research suggesting associations between closeness, bonding, and wider mental health
Training thought and action for virtuoso performance
Get PDFThe skills needed to play fast, challenging music with passion and conviction are much the same as the skills needed to play reliably from memory. We illustrate the relationship between virtuosic performance and memorization by describing how an experienced cellist (the first author) prepared the Prelude from J. S. Bach’s Suite No. 6 (BWV 1012) for solo cello for public performance in more than 30 hours of practice, and then taught a student pianist to memorize by showing her how to practice in a similar fashion. The cellist’s practice was guided by her artistic image of how the piece should sound, which directed her attention during practice to important musical transitions. These transitions were the location of performance cues (PCs), thoughts about musical intentions and technical choices that the cellist reported attending to during performance. These PCs served as retrieval cues, providing places where the cellist could recover from a memory failure, making it possible for her to perform from memory. They also affected expressive timing, reminding the cellist to “breathe” between phrases, with the result that tempo arches were taller and more tilted in phrases that started with a PC than in phrases that did not. Thus, attending to musical goals during practice made it possible to play from memory and with passion and conviction
Julius Stockhausen’s early performances of Franz Schubert’s Die schöne Müllerin
Get PDFFranz Schubert's song cycle Die schöne Müllerin makes enormous demands not only on the performers but also on its audience, a factor that shaped the early performance history of the work. In this article, the pioneering complete performances of Die schöne Müllerin by the baritone Julius Stockhausen (1826–1906) will be explored, as well as the responses of his audiences, collaborators, and critics. The circumstances surrounding the first complete performance in Vienna's Musikverein on 4 May 1856, more than three decades after the cycle was composed in 1823, will be traced. A survey of subsequent performances reveal two things: within Stockhausen's concert career at least, it was no foregone conclusion that the complete cycle should always be performed; and a performance of the “complete cycle” meant many different things in his day. Stockhausen's artistic idealism jostled against the practical forces that necessarily influenced his approach to recital programming, leading to a multifaceted, untidy performance history for this cycle