Music Practice Commons^™

By Word Of Mouth: Historical Performance Comes Of Age, Ingrid E. Pearson

Performance Practice Review

Since Clive Brown’s 1991 accusation that many twentieth-century manifestations of historical performance lacked an appropriate degree of musical sensitivity, the historical performance movement has truly come of age. In the arena of Western Art music, historical performance is now an essential component of musical training and education. Successful performers must be able to seamlessly function across the widest possible range of musical styles, accommodating an equally wide gamut of tastes, both individually and collectively.

In 1982, nine years earlier, Walter Ong’s Orality and Literacy: The Technologizing of the Word explored differences between oral and literate cultures. Of particular interest to …

"After The Golden Age: Romantic Pianism And Modern Performance" By Kenneth Hamilton, Robert Winter

Performance Practice Review

Winter reviews and critiques Hamilton's work.

The Antebellum "Piano Girl" In The American South, Candace Bailey

Performance Practice Review

Throughout the nineteenth century, the education of young gentlewomen almost always included music lessons, with piano lessons being the most frequently recommended. The social context for these young women pianists, “piano girls,” has been described in several modern works, particularly since Arthur Loesser’s seminal work Men, Women, and Pianos: A Social History.1 In the 1980s, Judith Tick made the term “piano girl” a familiar one in musicological studies, and since that time the idea of the piano girl and her role in society has been explored by others.2 Most of these studies describe the social phenomenon of the piano girl, …

The Mandolin: Its Structure And Performance (Sixteenth To Twentieth Centuries), James Tyler, Paul Sparks

Performance Practice Review

RILM: "A history of the instrument, with information about the construction and repertoire, and particular reference to performance techniques. The derivation of the term "mandolin" is discussed, as are the differences between the mandolino and the Neapolitan mandolin."

Performing On The Trombone: A Chronological Survey, David M. Guion

Performance Practice Review

RILM: "A history of the trombone from the late 14th c. to the present, with special emphasis on performance practice."

Action And Singing In Late 18th And Early 19th Century England, Robert Toft

Performance Practice Review

RILM: "Examines the role that action played in the performance of vocal music in the late 18th and early 19th c., through descriptions in writings from the period. Gilbert Austin's Chironomia, or, A treatise on rhetorical delivery (London, 1806) provided instruction in elocution and described such topics as standing, using the hands and arms, and making gestures in relation to the text. Austin's notation of action is applied to Thomas Gray's poem An elegy written in a country church-yard--which was set to music by Stephen Storace--to illustrate how action might have been employed by singers in the late 18th …

Musical Venues In Vienna, Seventeenth Century To The Present, Ingeborg Harer

Performance Practice Review

RILM abstract: "Consideration of musical venues is often neglected in research on historical performance practice. Many musical works are directly linked to a particular location. The characteristic features (type, size, Acoustics) of the room or building for which the music was written influenced the composer in the creation of his work. A number of venues have had a special place in the musical life of Vienna over the past four centuries. A list of principal Viennese musical buildings (theaters, opera houses, music rooms, concert halls) is included, along with the circumstances surrounding their construction, and the more important musical works--especially …

Woodwind Vibrato From The Eighteenth Century To The Present, Dwight C. Manning

Performance Practice Review

RILM abstract: "Surveys methods of vibrato production in woodwind performance. Beginning with Jacques Martin-Hotteterre, 18th-c. authors recommended finger vibrato. In the 19th c., Anton Bernhard Furstenau mentioned finger as well as jaw and breath vibrato. Late in the century, Maximillian Schwendler proclaimed that vibrato is initiated in the larynx (throat). The 20th c. has seen the debate continue over whether vibrato is produced by the breathing and blowing apparatus or by the throat, with recent scientific experiments supporting the latter claim."

"Classical And Romantic Music, The Library Of Essays On Music Performance Practice" Edited By David Milsom And Mary Cyr, Colin Lawson

Performance Practice Review

Colin Lawson discusses and reviews Milsom's 2011 work.

Milsom, David ed. Classical and Romantic Music, the Library of Essays on Music Performance Practice, series editor Mary Cyr. Farnham, Surry, UK, and Burlington, VT, USA: Ashgate, 2011.

ISBN 978-0-754-62859-0.