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Performer's voices across centuries and cultures : selected proceedings of the 2009 Performer's Voice International Symposium, Yong Siew Toh Conservatory of Music, National University of Singapore, 29 Oct-2 Nov 2009 /
This book and its accompanying website present the selected proceedings of the inaugural, 'The Performer's Voice: An International Forum for Music Performance and Scholarship', directed by Dr Anne Marshman (editor) and hosted by the Yong Siew Toh Conservatory of Music, National Univer...
| Clasificación: | Libro Electrónico |
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| Autores Corporativos: | , |
| Otros Autores: | |
| Formato: | Electrónico Congresos, conferencias eBook |
| Idioma: | Inglés |
| Publicado: |
London :
Imperial College Press,
©2012.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Editor's Preface; THE PERFORMER'S VOICE; PERFORMERS' VOICES ACROSS CENTURIES AND CULTURES; Acknowledgements; List of Online Examples; List of Music Examples; List of Figures and Table; Notes on Contributors; 1. Where Things Stand Now Richard Taruskin; Reference List; Discography; 2. The Performer's Voice and 'His Dualistic Soul': Hindemith Reconsidered Stephen Emmerson; Reference List; 3. What Underwrites the Performer's Voice? A Bakhtinian Perspective Anthony Gritten; Introduction; Worldly Voices; Musical Voices; Loving Voices; Soulful Voices; Conclusion; Reference List.
- 4. The port de voix in Louis Couperin's Unmeasured Preludes: A Study of Types, Functions and Interpretation David ChungFundamental Problems in Louis Couperin's Unmeasured Preludes; Port de voix; Seventeenth-Century Controversies over the Interpretation of the port de voix; Ports de voix in Couperin's Preludes: Types and Functions; Sources and Editions; Critical Performance Issues; Conclusion; Reference List; Discography; 5. Explorations around Bass Parts and Key Schemes: Recording the Cantatas of Alessandro Scarlatti Rosalind Halton.
- 'The Composer's Intentions': Letters of Alessandro ScarlattiFinding a Context for Performers; Bass Part Sonorities; Key Choice, Instrumentation and Affect; Conclusions; Reference List; Discography; 6. Marimba Plays Early Music: An Approach Informed by Historical Performance Practice Tomoyo Ueda; Investigation of Performance Practice in the Baroque Period; Aspects To Be Considered when Studying Works from the Baroque Period on the Marimba; Ornaments; Long Notes; Chords; Dynamics; Pitch Range; Mallet Choice; Playing with Harpsichord; Conclusion; Reference List; Discography.
- 7. A Philosophy of the Performer's Voice and Its Performance in Works by Mozart and Stravinsky Anne MarshmanDialogue, Answerability and the Uniqueness of Being; Verbal and Musical Utterances; The Performer's Voice in Theory; Musical Objectivity and the Classical Body; The Performer's Voice in Practice; Performing Cultural Voices in the Menuetto of Mozart's Clarinet Quintet; In Response to Stravinsky's Monologic 'Principle of Submission'; Conclusion: The Performer's Mortal Voice; Reference List; Discography; 8. The Literary Song Recital with Special Reference to Maud Michael Halliwell.
- Reference List9. 'On the String in the Peasant Style': Performance Style in Early Recordings of Béla Bartók's Romanian Folk Dances Joshua Walden; Reference List; Discography; 10. The Lowly Voice: The Singapore Bassist Voice Greg Petersen and Tony Makarome; Reference List; 11. From Fortepiano to Modern Piano: A Case Study of a Performer-Composer Collaboration Helena Marinho and Sara Carvalho; Documenting the Collaboration; Intention and Authorial Perspective; Intention in Music; Intention in Collaboration: The Process; Intention Revisited; Reference List.