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Full-Text Articles in Arts and Humanities
Authenticity Or Authenticities?--Performance Practice And The Mainstream, Roland Jackson
Authenticity Or Authenticities?--Performance Practice And The Mainstream, Roland Jackson
Performance Practice Review
RILM abstract:"A critique of Peter Kivy's book Authenticities: Philosophical reflections on musical performance (RILM 1995-1431). Kivy proposes that performance involves four authenticities: composer (the composer's original conception), sonic (the restoring of original sound materials), personal (the performer's interpretation), and sensible (the meaning attached by an audience). The first two are furthered by performance practice, the last two by the mainstream. A reconciliation is proposed in that performance practice can encompass personalized Expression and the mainstream can profit from greater awareness of the details of historical performance."
Performing The Medieval Lyric: A Metrical-Accentual Approach, Roger Pensom
Performing The Medieval Lyric: A Metrical-Accentual Approach, Roger Pensom
Performance Practice Review
RILM abstract: Linguistic and metrical accents present many challenges to performers of Old French and Provencal verse. A hypothesis is presented that resolves these problems: If the verse-metrical structure varies from stanza to stanza in the context of a melody that is repeated from stanza to stanza, then the rhythmic structure of the melody changes, paralleling the meter of the verse. Bernart de Ventadorn's Can vei la lauzeta mover is used as an example."
Book Review: "Performing Beethoven." By Robin Stowell, Eva Badura-Skoda, Paul Badura-Skoda
Book Review: "Performing Beethoven." By Robin Stowell, Eva Badura-Skoda, Paul Badura-Skoda
Performance Practice Review
The Badura-Skodas discuss and review Stowell's 1994 book.
Performance Practice And The Falsobordone, Murray C. Bradshaw
Performance Practice And The Falsobordone, Murray C. Bradshaw
Performance Practice Review
RILM abstract: "While the falsobordone was not the most sophisticated genre of the 16th and early 17th c., it was among the most popular. Its popularity can be attributed to its simple polyphonic style, which lent itself to a variety of performances. The falsobordone could be sung by either a full choir or a solo ensemble (with recitations sung in uneven values and without a metrical pulse, but with cadences almost always articulated metrically). It could be performed as a solo song accompanied by organ or another instrument, as a highly embellished solo piece (passaggiato), or as a polychoral composition …