The Cambridge History of Musical Performance
The intricacies and demanding situations of musical functionality have lately attracted the eye of writers and students to a better quantity than ever ahead of. learn into the performer's event has all started to discover such parts as perform strategies, functionality nervousness and memorization, in addition to many different specialist concerns. old functionality perform has been the topic of full of life debate manner past educational circles, mirroring its excessive profile within the recording studio and the live performance corridor. Reflecting the powerful ongoing curiosity within the position of performers and function, this background brings jointly examine from major students and historians and, importantly, positive aspects contributions from entire performers, whose functional studies provide the amount a special energy. relocating the focal point clear of the composers and onto the musicians accountable for bringing the track to existence, the heritage offers a clean, built-in and leading edge point of view on functionality heritage and perform, from the earliest occasions to this day.
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Additional resources for The Cambridge History of Musical Performance
Example text
Because of their limited recorded activity, Henry Wood, Malcolm Sargent, Adrian Boult and even Thomas Beecham did not have anything like the international profile and reputation of Arturo Toscanini and Herbert von Karajan, whose effective 57 D. Wright, ‘Reinventing the Proms: the Glock and Ponsonby eras 1959–85’, in J. Doctor, N. Kenyon and D. ), The Proms: A New History, London, Thames & Hudson, 2007. 58 S. Garfield, Our Hidden Lives: The Remarkable Diaries of Post-War Britain , London, Ebury Press, 2004.
The Cambridge Companion to Recorded Music, Cambridge University Press, 2009, a major advance in thinking about this subject. 31 A different avenue not explored here is ‘a mode of analysis which might benefit rather than constrain performers’: J. ), Musical Performance: A Guide to Understanding, Cambridge University Press, 2002, p. 35; and N. Cook, ‘Analysing performance and performing analysis’, in N. Cook and M. ), Rethinking Music, Oxford University Press, 1999. 14 NICHOLAS KENYON context. I would plead guilty to the charge that the habitual language of such discourse – in an average newspaper concert review or an edition of ‘Building a Library’ on BBC Radio 3’s CD Review – is largely anecdotal and descriptive, rather than analytical.
Such a view has not been traditionally popular, but it is gaining in importance in the scholarly community, and it is one of the impulses that lie behind this book. ’ He attacks ‘the extraordinary illusion, for that is what it is, that there is such a thing as music, rather than simply acts of making and receiving it [my italics], [which] might well be considered the basic premise of the Western “art” tradition’. 28 Because of our valuing of its achievement and its impact on us, there is a tendency to think of great music as a monument, a supreme example of Western civilisation, and that therefore it must be a ‘thing’.