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Harpsichord
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
Temperament
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
Memory (performing from)
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
Altès, Joseph Henry; Brüggen, Franciscus Jozef; Delusse, Charles; Freillon-Poncein, Jean-Pierre; Ganassi dal Fontego, Sylvestro di; Herreweghe, Philippe; Kirkby, Dame Emma
No full textEntries in the Cambridge Encyclopedia of Historical Performance in Music as follows: Altès, Joseph Henry (p.22); Brüggen, Franciscus Jozef (p.99); Delusse, Charles (pp.172-173); Freillon-Poncein, Jean-Pierre (pp.247-248); Ganassi dal Fontego, Sylvestro di (pp.257-258); Herreweghe, Philippe (p.298); Kirkby, Dame Emma (pp.347-348).
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 audience
Performance practice scholarship
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
Vocal performance
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
Agricola, Johann Friedrich; Bernhard, Christoph; Brunelli, Antonio; Caccini, Giulio; Conforti, Giovanni Luca; Corri, Domenico; Hiller, Johann Adam; Maffei, Giovanni Camillo; Mancini, Giovanni Battista; Monteverdi, Claudio; Zacconi, Lodovico; Zenobi, Luigi
No full textEntries in the Cambridge Encyclopedia of Historical Performance in Music as follows: Agricola, Johann Friedrich (pp.17-18); Bernhard, Christoph (p.75); Brunelli, Antonio (pp.99-100); Caccini, Giulio (pp.105-106); Conforti, Giovanni Luca (p.147); Corri, Domenico (p.154); Hiller, Johann Adam (pp.300-301); Maffei, Giovanni Camillo (p.382); Mancini, Giovanni Battista (pp.386-387); Monteverdi, Claudio (pp.412-414); Zacconi, Lodovico (pp.696-697); Zenobi, Luigi (p.699).
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
Albrechtsberger, Johann Georg; Backofen, Johann Georg Heinrich; Baines, Anthony (Cuthbert); Blasius, (Mathieu-) Frédéric; Devienne, François; Eisel, Johann Philipp; Fingering (3): wind instruments; Fröhlich, (Franz) Joseph; Grenser family
No full textEntries in the Cambridge Encyclopedia of Historical Performance in Music as follows: Albrechtsberger, Johann Georg (pp.20-21); Backofen, Johann Georg Heinrich (pp.48-49); Baines, Anthony (Cuthbert) (pp.54-55); Blasius, (Mathieu-) Frédéric (p.78); Devienne, François (pp.173-174); Eisel, Johann Philipp (p.210); Fingering (3): wind instruments (pp.238-239); Fröhlich, (Franz) Joseph (p.249); Grenser family (p.270-271).
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
How group singing facilitates recovery from the symptoms of postnatal depression: a comparative qualitative study
Get PDFBackground: Previous research has demonstrated that making music can enhance positive emotions as well as support positive psychological functioning. However, studies tend to be limited by lack of comparison with other psychosocial interventions. This study builds on a three-arm randomised controlled trial (RCT) that demonstrated that group singing for mothers and babies, but not group creative play, can lead to faster recovery from moderate-severe symptoms of postnatal depression than usual care. The aim was to elucidate the mechanisms of the group singing intervention in order to account for its recovery properties.
Methods: Qualitative research was conducted with 54 mothers who had experienced symptoms of postnatal depression. Mothers completed a 10-week programme of either group singing or group creative play as part of the wider RCT study. Data were collected via a series of 10 semi-structured focus groups conducted at the end of each 10-week programme. These were designed to elicit subjective and constructed experiences of the singing and play interventions and were analysed inductively for emergent themes.
Results: Five distinctive features of the group singing emerged: (i) providing an authentic, social and multicultural creative experience, (ii) ability to calm babies; (iii) providing immersive ‘me time’ for mothers; (iv) facilitating a sense of achievement and identity; (v) enhancing mother-infant bond.
Conclusions: Community group singing interventions may reduce symptoms of postnatal depression through facilitating a functional emotional response rooted in the needs of new motherhood. These features are of relevance to others seeking to implement creative interventions for maternal mental health.
Trial registration: NCT02526407. Registered 18 August 2015
Making an impression: error location and repertoire features affect performance quality rating processes
Get PDFThis article examines the effects of composition length, familiarity, and likeability—as well as the location of performance errors—on the process of forming performance quality ratings. Five piano works by Chopin and a twentieth-century composer were cho- sen to vary by length and familiarity. Three of these pieces were then manipulated to contain performance errors in the opening material, and two of those the same error at the recapitulation. Forty-two musicians provided continuous quality evaluations and final quality ratings of the performances, hearing one version of each piece. The results showed that familiarity had no effect within works of a well-known composer, but times to first and final decision were significantly extended for an unfamiliar work of an unfamiliar composer. A shorter piece led to a shorter time to first decision. An error at the beginning of a performance caused a shorter time to first decision and lower initial and final ratings, where the same error at the recapitulation did not have a significant effect on the final judgment, despite causing a temporary negative drop. These findings demonstrate how evaluators’ knowledge of a work can affect their rating process and the importance of making a strong first impression in performance