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Acknowledgments
|
i
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1.
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Dancing to Architecture?
|
1
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1.1
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The Problems of Researching and Writing about Music Performance
|
3
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Problems with Historical Investigations of Music Performance
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7
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Is HIP a Modern Invention/Aesthetic or Does it Have Historical Grounding?
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12
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Data versus Narrative–Letting Go of Dancing or Returning to the Dance Floor?
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13
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1.2
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Summary: Recordings, Aims and Method
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17
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2.
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Theoretical Matters
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25
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2.1
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Cultural Theories
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28
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HIP and Modernism
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28
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Modernism versus Postmodernism
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31
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HIP as a Mirror of Cultural Change
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35
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Aesthetics and Value Judgment: Beauty and the Sublime
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39
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2.2
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Analytical Theories
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42
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Music Performance Studies
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42
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Empirical and Psychological Studies of Performance
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48
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2.3
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Music Performance and Complex Systems
|
51
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Gilles Deleuze and Difference in Music Performance
|
52
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Music Performance as Complex Dynamical System
|
56
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2.4
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Performance Studies, Oral Culture and Academia
|
61
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Research Roles: Performing Music or Analysing Performance?
|
62
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Oral Cultures and the Aurality of Music Performance
|
65
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Keeping Music Performance in the Aural Domain
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69
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Academia Once More
|
71
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2.5
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Conclusion
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73
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3.
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Violinists, Violin Schools and Emerging Trends
|
75
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3.1
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Violinists
|
76
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3.2
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Violin Schools
|
87
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3.3
|
The Influence of HIP on MSP
|
95
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3.4
|
Diversity within Trends and Global Styles
|
106
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3.5
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Overall Findings and Individual Cases
|
116
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Trends in Particular Movements
|
118
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The Importance of Ornamentation
|
120
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3.6
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Conclusion
|
122
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4.
|
Analyses of Performance Features
|
127
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4.1
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Tempo Choices
|
130
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4.2
|
Vibrato
|
137
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|
4.3
|
Ornamentation
|
146
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|
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Problems of Aesthetics and Notation Practices
|
146
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|
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The Role of Delivery
|
149
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|
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The Performance of Embellishments
|
153
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Diversity—Once More
|
166
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Ornamenting or Improvising?
|
169
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Summary
|
170
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4.4
|
Rhythm
|
172
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Dotted Rhythms
|
173
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Rhythmic Alteration
|
181
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|
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Rhythm and Musical Character
|
183
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|
4.5
|
Bowing, Articulation and Phrasing
|
184
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Bowing and Timbre
|
184
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|
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Multiple Stops
|
190
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Phrasing and Dynamics
|
193
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4.6
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Conclusions
|
197
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5.
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Affect and Individual Difference: Towards a Holistic Account of Performance
|
201
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|
5.1
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Differences within the MSP and within the HIP Styles
|
202
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The Loure
|
202
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|
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MSP Interpretations
|
203
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|
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HIP Interpretations
|
206
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|
|
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The Gavotte en Rondeau
|
207
|
|
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HIP: Wallfisch and Huggett
|
208
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|
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MSP: Lev and Girngolts
|
210
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|
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|
Menuet I-II
|
211
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|
5.2
|
Multiple Recordings of Violinists
|
217
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|
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Gidon Kremer
|
218
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|
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|
Rachel Barton Pine
|
221
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|
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|
Christian Tetzlaff
|
223
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|
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Sigiswald Kuijken
|
229
|
|
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|
Viktoria Mullova
|
230
|
|
5.3
|
The Holistic Analysis of Interpretations
|
233
|
|
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|
“Subjective” Aural Analysis: The D minor Giga
|
234
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|
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|
“Objective” Measures:
The A minor Grave and G minor Adagio
|
238
|
|
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|
Perception of Affect
|
241
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5.4
|
Idiosyncratic Versions and Listeners’ Reactions
|
247
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|
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|
Thomas Zehetmair
|
247
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|
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|
Monica Huggett
|
251
|
|
|
|
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The E Major Preludio
|
254
|
|
5.5
|
Conclusions
|
268
|
|
|
|
6.
|
Conclusions and an Epilogue: The Complexity Model of Music Performance, Deleuze and Brain Laterality
|
273
|
|
6.1
|
Summary
|
286
|
|
6.2
|
Where to from Here?—Epilogue
|
287
|
|
|
|
The Brain and its Two Worlds
|
288
|
|
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List of Audio Examples
|
297
|
|
List of Tables
|
303
|
|
List of Figures
|
305
|
|
Discography
|
307
|
|
References
|
313
|
|
Index
|
333
|
