A Musicology Of Performance: Theory And Method Based On Bach's Solos For Violin
by Dorottya Fabian /
2015 / English / PDF
119.3 MB Download
The nature of musical performance has intrigued researchers for a
long time. This book explores the contributions and limitations of
some of these approaches, be it theoretical, cultural, historical,
perceptual, or analytical. Through a detailed investigation of
recent recordings of J. S. Bach's 6 Sonatas and Partitas for Solo
Violin it demonstrates that music performance functions as complex
dynamical systems. As such only a transdisciplinary approach to
analysis is able to verbalize the aural experience. The book
provides a model for such a method by adopting Deleuzian concepts
and various empirical and interdisciplinary procedures, from the
cultural-historical to the perceptual-phenomenological. The focus
is always on the detail in context, the relative contribution of
the interacting elements creating the holistic experience. A
Musicology of Performance also considers a crucial but
under-researched element in virtually all studies of performance,
namely, the ways in which performers learn from one another and
develop their own micro-traditions. The repertoire analyzed in this
book demonstrates the reliability of the analytical method,
providing evidence for the proposed theoretical model, while
presenting new insights into the state of baroque performance
practice at the turn of the twenty-first century. The book contains
a wealth of audio examples, tables and graphs to better map the
interaction between historically informed and mainstream
performance styles considered in relation to broader cultural
trends, violin schools and individual artistic trajectories. A
Musicology of Performance is a must read for academics and
post-graduate students and an essential reference point for the
study of music performance, the early music movement, and Bach's
opus.
The nature of musical performance has intrigued researchers for a
long time. This book explores the contributions and limitations of
some of these approaches, be it theoretical, cultural, historical,
perceptual, or analytical. Through a detailed investigation of
recent recordings of J. S. Bach's 6 Sonatas and Partitas for Solo
Violin it demonstrates that music performance functions as complex
dynamical systems. As such only a transdisciplinary approach to
analysis is able to verbalize the aural experience. The book
provides a model for such a method by adopting Deleuzian concepts
and various empirical and interdisciplinary procedures, from the
cultural-historical to the perceptual-phenomenological. The focus
is always on the detail in context, the relative contribution of
the interacting elements creating the holistic experience. A
Musicology of Performance also considers a crucial but
under-researched element in virtually all studies of performance,
namely, the ways in which performers learn from one another and
develop their own micro-traditions. The repertoire analyzed in this
book demonstrates the reliability of the analytical method,
providing evidence for the proposed theoretical model, while
presenting new insights into the state of baroque performance
practice at the turn of the twenty-first century. The book contains
a wealth of audio examples, tables and graphs to better map the
interaction between historically informed and mainstream
performance styles considered in relation to broader cultural
trends, violin schools and individual artistic trajectories. A
Musicology of Performance is a must read for academics and
post-graduate students and an essential reference point for the
study of music performance, the early music movement, and Bach's
opus.
