Investigating Musical Performance considers the wide range of perspectives on musical performance made tangible by the cross-disciplinary studies of the last decades and encourages a comparison and revision of theoretical and analytical paradigms.
Investigating Musical Performance considers the wide range of perspectives on musical performance made tangible by the cross-disciplinary studies of the last decades and encourages a comparison and revision of theoretical and analytical paradigms.
Gianmario Borio is Professor of Musicology at the University of Pavia and Director of the Institute of Music at the Fondazione Giorgio Cini, Venice. He is a member of the Academia Europaea, corresponding member of the American Musicological Society and corresponding fellow of the British Academy. His publications deal with several aspects of twentieth-century music (theory and aesthetics, political background, the audiovisual experience), the history of musical concepts and the theory of musical form. Giovanni Giuriati is Professor of Ethnomusicology at the University of Rome 'La Sapienza' and Director of the Intercultural Institute for Comparative Music Studies at the Fondazione Giorgio Cini, Venice. He has researched and published extensively on the traditional music of Cambodia and Indonesia, and on the instrumental music and the relationship between music and festivals in southern Italy. Alessandro Cecchi is Lecturer of Musicology at the University of Pisa. His publications mainly deal with music theory, musical aesthetics and twentieth-century music, including film music. He is director of the book series Musica.Performance.Media (NeoClassica). Marco Lutzu is Lecturer of Ethnomusicology at the University of Cagliari. He has carried out fieldwork in Sardinia and Cuba, focusing on the relationship between music and religion, improvised poetry, hip hop culture and performance analysis. He is the scientific director of the Encyclopedia of Sardinian Music.
Inhaltsangabe
I. The interactive and spatial life of music: towards a composite ethnomusicological approach for the analysis of musical performance by Giovanni Giuriati On the sonorous rendering of musical texts: theoretical stances since the early nineteenth century by Gianmario Borio Empirical methods in the study of music performance: an interdisciplinary history by Martin Clayton Musical performance as a medium of value by Timothy D. Taylor 'Musical Personae' revisited by Philip Auslander The performer's experience: positional listening and positional analysis by John Covach Music's techno-chronemics by Martin Scherzinger Investigating musical performance: an overview of recent perspectives by Alessandro Cecchi, Marco Lutzu II. Who's keeping the score? by Janet Schmalfeldt Judging Chopin: an evaluation of musical experience by John Rink The manufacture of extravagant gesture: labour and emotion on the operatic stage by Mary Ann Smart The physiognomy of the voice: vocal gestures in Italian experimental music (1960-70) by Michela Garda Sentimental gesture and the politics of 'shape' in the performances of Abd al-Halim Hafiz by Martin Stokes Marking the sam: tal, tempo and gesture in khyal performance by Laura Leante Lokapañca: analysing structure, performance and meanings of a temple song in Nepal by Richard Widdess Between music and noise: the discussion of portamento and its socio-aesthetic implications during the long nineteenth century by Camilla Bork Towards a consideration of the contemporary musical work as 'a work in progress' by Pierre Michel
I. The interactive and spatial life of music: towards a composite ethnomusicological approach for the analysis of musical performance by Giovanni Giuriati On the sonorous rendering of musical texts: theoretical stances since the early nineteenth century by Gianmario Borio Empirical methods in the study of music performance: an interdisciplinary history by Martin Clayton Musical performance as a medium of value by Timothy D. Taylor 'Musical Personae' revisited by Philip Auslander The performer's experience: positional listening and positional analysis by John Covach Music's techno-chronemics by Martin Scherzinger Investigating musical performance: an overview of recent perspectives by Alessandro Cecchi, Marco Lutzu II. Who's keeping the score? by Janet Schmalfeldt Judging Chopin: an evaluation of musical experience by John Rink The manufacture of extravagant gesture: labour and emotion on the operatic stage by Mary Ann Smart The physiognomy of the voice: vocal gestures in Italian experimental music (1960-70) by Michela Garda Sentimental gesture and the politics of 'shape' in the performances of Abd al-Halim Hafiz by Martin Stokes Marking the sam: tal, tempo and gesture in khyal performance by Laura Leante Lokapañca: analysing structure, performance and meanings of a temple song in Nepal by Richard Widdess Between music and noise: the discussion of portamento and its socio-aesthetic implications during the long nineteenth century by Camilla Bork Towards a consideration of the contemporary musical work as 'a work in progress' by Pierre Michel
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