This collection about the early music movement will appeal to performers, teachers, academics, instrument makers, amateur musicians, and music lovers. With chapters about new ways to study, teach, perform, and listen to early music, there is something to appeal to everyone. The diverse group of authors--from young to established voices who live across the globe--offer positive, diverse, exciting, and challenging points of view about how the early music movement can go forward into the future.
This collection about the early music movement will appeal to performers, teachers, academics, instrument makers, amateur musicians, and music lovers. With chapters about new ways to study, teach, perform, and listen to early music, there is something to appeal to everyone. The diverse group of authors--from young to established voices who live across the globe--offer positive, diverse, exciting, and challenging points of view about how the early music movement can go forward into the future.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Mimi Mitchell enjoys a dual career as a musicologist and a historical violinist. She was co-curator of the symposium The Historical Violin (STIMU, Utrecht Early Music Festival, 2019) and curated the conference Early Music in the 21st Century (Conservatorium van Amsterdam, 2021). She contributed a chapter to the Kunsthistorisches Museum Vienna's The Collection of Historic Musical Instruments: The First 100 Years (2018) and presented a series of lectures and articles for the "Revival" Utrecht Early Music Festival (2023). She is a Masters Research Coordinator and Senior Lecturer at the Conservatorium van Amsterdam and works internationally as a speaker, teacher, violinist/conductor, and coach.
Inhaltsangabe
* Foreword: Polarization, Reintegration, and Diversity * Sir Nicholas Kenyon * * 1. Introduction * Mimi Mitchell * Part I: Methodological Viewpoints * 2. Early Music: Views from Ethnomusicology * Caroline Bithell * 3. Renewing Historical Performance through an Embodiment of Historical Acting Techniques * Jed Wentz * 4. Historical Interpretation Research-New Sources and Methodologies * Kai Köpp * Part II: (Non) Historical Instruments * 5. Making (Faking?) Early Music * Jeremy Montagu * 6. Plastic Fantastic? * Fiona Brock, Andrew Hughes, and Jeremy Uden * 7. Modern Versus Historical Instruments: International Bach Competition Leipzig * Mimi Mitchell * Part III: Pedagogical Perspectives * 8. Professionalizing Historical Performance: The Past and Present of Early Music Education in Am-sterdam * Kailan Rubinoff * 9. "HIP for All" or Specialized Training: Diverse Missions for Early Music in Higher Education * Kelly Landerkin and Claire Michon * 10. Nows, Thens, and Truths: Attending to the Present in Performing the Past * Jonathan Impett * 11. Towards a More Inclusive Early Music * Deanna Pellerano * Part IV: Transformative Technologies * 12. Early Music and the Paradox of Technology * Alon Schab * 13. "Nutrition in an Age of Diet Soft Drinks": the Utopa Baroque Organ in Amsterdam * Hans Fidom * 14. Developing Virtual Acoustic Systems for Use in Early Music Research * Eoin Callery and Jonathan Abel * Part V: Revisiting History * 15. The New Dutch Recorder Sound of the 1960s * Robert Ehrlich * 16. Early Music in the Latin Americas: An Alternative Scene * Melodie Michel * 17. Remixes and Radical Revivals: Baroque Opera Production and the Opera Wars * Caitlin Vincent * Index
* Foreword: Polarization, Reintegration, and Diversity * Sir Nicholas Kenyon * * 1. Introduction * Mimi Mitchell * Part I: Methodological Viewpoints * 2. Early Music: Views from Ethnomusicology * Caroline Bithell * 3. Renewing Historical Performance through an Embodiment of Historical Acting Techniques * Jed Wentz * 4. Historical Interpretation Research-New Sources and Methodologies * Kai Köpp * Part II: (Non) Historical Instruments * 5. Making (Faking?) Early Music * Jeremy Montagu * 6. Plastic Fantastic? * Fiona Brock, Andrew Hughes, and Jeremy Uden * 7. Modern Versus Historical Instruments: International Bach Competition Leipzig * Mimi Mitchell * Part III: Pedagogical Perspectives * 8. Professionalizing Historical Performance: The Past and Present of Early Music Education in Am-sterdam * Kailan Rubinoff * 9. "HIP for All" or Specialized Training: Diverse Missions for Early Music in Higher Education * Kelly Landerkin and Claire Michon * 10. Nows, Thens, and Truths: Attending to the Present in Performing the Past * Jonathan Impett * 11. Towards a More Inclusive Early Music * Deanna Pellerano * Part IV: Transformative Technologies * 12. Early Music and the Paradox of Technology * Alon Schab * 13. "Nutrition in an Age of Diet Soft Drinks": the Utopa Baroque Organ in Amsterdam * Hans Fidom * 14. Developing Virtual Acoustic Systems for Use in Early Music Research * Eoin Callery and Jonathan Abel * Part V: Revisiting History * 15. The New Dutch Recorder Sound of the 1960s * Robert Ehrlich * 16. Early Music in the Latin Americas: An Alternative Scene * Melodie Michel * 17. Remixes and Radical Revivals: Baroque Opera Production and the Opera Wars * Caitlin Vincent * Index
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