Relevant bibliographies by topics / Historical Informed Performance (HIP)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Historical Informed Performance (HIP)'

Author: Grafiati
Published: 5 October 2024

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Journal articles on the topic "Historical Informed Performance (HIP)"

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Eley, Nolan, Catherine Lavandier, Théodora Psychoyou, and Brian F. G. Katz. "Listener perception of changes in historically informed performance of solo baroque music due to room acoustics." Acta Acustica 8 (2024): 6. http://dx.doi.org/10.1051/aacus/2023069.

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A listening test was performed to determine whether there were any perceived differences in the playing styles of musicians as a function of the room in which the music was performed. This listening test was part of a larger study aimed at investigating the impact of room acoustics on historically informed performance (HIP) of baroque music which included an objective analysis framework designed to capture dimensions of performance important to a historical baroque playing style. The test included both flute and viol examples and included the participation of 20 musically trained listeners wit
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Heyman, Matthias. "Recreating the Beatles." Journal of Popular Music Studies 33, no. 2 (2021): 77–98. http://dx.doi.org/10.1525/jpms.2021.33.2.77.

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Beatles tributes come in many forms and guises, but look-alikes are arguably the most popular type. Because of their focus on replicating the band’s iconic costumes and hairdo, they usually limit themselves to an easily reproducible core repertoire, forgoing the elaborate post-1966 studio productions. By contrast, sound-alikes strive for complete aural accurateness, often recreating the heavily produced compositions the Beatles never performed outside of the studio. One of the industry’s top-tier Beatles sound-alikes are the Analogues. Neglecting all mimetic visual effects, they re-animate the
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Scott, Rachel E. "HIP Librarians: An Introduction to Historically Informed Performance for Music Librarians." Music Reference Services Quarterly 17, no. 3 (2014): 125–41. http://dx.doi.org/10.1080/10588167.2014.935587.

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Tassie, Benjamin. "‘POST-HIP’: NEW MUSIC FOR OLD INSTRUMENTS IN THE TWENTY-FIRST CENTURY." Tempo 75, no. 297 (2021): 61–70. http://dx.doi.org/10.1017/s0040298221000231.

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AbstractThis article explores an emergent vanguard of the ‘historically informed performance’ (HIP) movement in the twenty-first century, focusing on new music written for, and performed on, historical instruments. Drawing on musicological and journalistic writing, as well as first-hand interviews with artists working in the scene, discussion is centred around the work of three key practitioners: the lutenist Jozef van Wissem, gambist Liam Byrne and baroque violinist Halla Steinunn Stefánsdóttir. Finally, an attempt is made to situate the scene, both in relation to earlier revivalist practice
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Baldelli, Heloise. "HIP as a Creative Tool for Performance Design: Investigating the Performance Practice of Satie’s Mélodies to Challenge the Stereotypes of the Classical Recital." PlaySpace 2, no. 1 (2023): 42–54. http://dx.doi.org/10.31265/ps.606.

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In the 20th century a wave of experimentation and discussion hit most artistic disciplines. As pianist-researcher Mine Dogantan-Dack points out, classical music has been slow to join in. Although composers have been experimenting with the musical language, classical music performance as an artistic practice has relatively stayed untouched. In the area of vocal music, the traditional recital format with the singer standing by the piano is THE standard. In my doctoral research project, I aim to challenge and explore alternatives to this traditional format. I start by investigating the original p
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Nurmusabih, Nandya Abror, and Andhika Dzaki Naufal. "Exploring the interpretation techniques in Bach’s Cello Suite No. 1 Prelude: A theoretical and practical approach to baroque performance practice." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (2024): 102–23. http://dx.doi.org/10.17509/interlude.v3i2.71882.

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This study investigates the essential strategies for interpreting Johann Sebastian Bach's Cello Suite No. 1 Prelude, with a specific emphasis on historically informed performance practices (HIP). The focus of this study is the intricate implementation of Baroque performance methods, including slurs, detached notes, double stops, cross-string techniques, and ornamentation. These skills are crucial for providing a faithful interpretation of Bach's music. The significance of this research is to connect historical performance techniques with present interpretative approaches, guaranteeing that con
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HUNTER, MARY. "EDITORIAL." Eighteenth Century Music 15, no. 2 (2018): 137–41. http://dx.doi.org/10.1017/s1478570618000027.

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In the world of historically informed performance (HIP) the word ‘authenticity’ is, if not exactly dead, certainly taboo (‘I know that we shouldn't use the A-word’), fenced in with qualifiers (‘Of course we can't be fully authentic’) or softened to clarify that of course HIP performances are aiming for something less than a full realization of the composer's intentions (‘This may be the way Mozart could have heard it’, or ‘This represents some of the practices of the time’). But at least for the most successful practitioners of HIP (epigones may be a different matter), authenticity discourse w
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Schmitges, Andreas. "Funem (sh)eynem vortsl aroys?!—Approaches to the Study of Parallel Eastern Yiddish and German Folk Songs." European Journal of Jewish Studies 8, no. 1 (2014): 53–103. http://dx.doi.org/10.1163/1872471x-12341257.

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Yiddish and German are two languages and cultures that are considered autonomous and important within the European cultural diversity. Although they are linguistically very close and historically interwoven, not much research has been done concerning the comparison of their folk cultures. The present comparative study of Eastern Yiddish and German folk songs is a first step towards a deeper understanding of the processes of cultural migration and transfer since the Middle Ages. The paper concentrates on three aspects: 1. Discussion of previous undervalued research by scholars in the twentieth
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Fiaminghi, Luiz Henrique. "O violino violado: o entremear das vozes esquecidas das rabecas e de "outros violinos"." Per Musi, no. 20 (2009): 16–21. http://dx.doi.org/10.1590/s1517-75992009000200003.

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A representação do violino como instrumento musical hegemônico é um fato incontestável se considerarmos sua presença nos mais diversos âmbitos das práticas da música ocidental. As últimas décadas presenciaram, porém, a emergência de algumas vozes dissonantes: as práticas interpretativas historicamente informadas (Historically Informed Performance ou HIP) redescobriram o violino barroco e todo o seu aparato técnico; no Brasil, a rabeca mostrou suas potencialidades, não mais somente nas mãos de ardorosos defensores da cultura popular, mas de músicos em busca de novas sonoridades. Tomando como ex
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Томницький, Костянтин. "Феномен історично інформованого виконання в підготовці майбутніх викладачів до інтерпретації музичних творів". Південноукраїнські мистецькі студії, № 2 (11 вересня 2024): 77–84. http://dx.doi.org/10.24195/artstudies.2024-2.14.

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У статті актуалізовано проблему інтерпретації музичних творів у підготовці музикантів-виконавців, майбутніх викладачів виконавських дисциплін. Зроблено наголос на феномені історично інформованого виконання (historically informed performance (HIP)). Розкрито його переваги, недоліки та перспективи застосування в освітньому процесі закладів вищої музичної та музично-педагогічної освіти. Мета статті полягає в аналізі феномену історично інформованого виконання взагалі, а також у контексті навчання майбутніх музикантів і майбутніх викладачів музичного виконавства інтерпретувати твори й оцінювати інт
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Dissertations / Theses on the topic "Historical Informed Performance (HIP)"

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Yang, Xiaoke. "HIP and the “Mainstream”: Implications of Historically Informed Performance on Contemporary Horn Performance in Mozart’s K. 447." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/24099.

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This study explores the implications of the natural horn on the modern horn and incorporates an historically informed analysis of Mozart’s Horn Concerto No. 3, K. 447. The concerto has become one of the most common in the audition repertoire, with most modern horn players approaching the piece in a conventional manner. Such an approach fails to capture many of the nuances of the piece when performed on the natural horn. However, in the highly competitive audition environment, auditioning on the natural horn or using historical techniques on a modern instrument is fraught with challenges. First
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Werlemann-Godfrey, Harrison Theodore Cleveland. "History, Authenticity and the Experimental : An Ethnography of the Historically Informed Performance Movement in Sydney, Australia 2016-2017." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20861.

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This thesis concerns itself with the manner in which history is perceived, produced, marketed, and received through the medium of classical music performance. Specifically, it is concerned with a group of classically-trained musicians operating in Sydney, Australia who describe their practice as ‘historical’ or (at the very least) ‘historically informed’. In this thesis, I introduce the reader to the world of Historically Informed Performance, or ‘HIP’ as it is acronymized by insiders. Specifically, this thesis sets out as an ethnography of HIP grounded in participant-observation. Drawing on p
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Szulman, Julien. "Georges Enesco, violoniste : formation, technique et interprétation." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL066.

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Les diverses activités de Georges Enesco (1881-1955) comme compositeur, chef d'orchestre, violoniste et pianiste, le placent parmi les musiciens les plus fascinants de la première moitié du XXe siècle. Cette thèse se concentre spécifiquement sur son rôle de violoniste, cherchant à dévoiler des éléments tangibles concernant son style d'interprétation. Cette recherche vise à fournir une somme d'informations approfondies tant sur le plan technique que musical, permettant de mieux comprendre le style de jeu du violoniste roumain et offrant des perspectives sur le contexte d'interprétation de l'épo
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Lang, Megan Elizabeth. "Becoming HIP: discovering musical identities through engagement with music." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16325.

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Musical identities and musical engagement are inextricably entwined. Investment in musical pursuits leads to the formation of self-perceptions as a musician, performer, and learner, and these perceptions govern behaviour and development in the practice room and on the stage (Hargreaves, MacDonald, & Miell, 2012). This thesis examines musical identities among students involved with the department for Historically Informed Performance (HIP) at a tertiary music institution. It looks at which musical identities were relevant, how they were manifested, and how they interacted with musical engagemen
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Seah, Tsu Tham Tommy. "Exploring historical Russian pianism in Sergei Lyapunov’s Twelve Transcendental Études, Op. 11: The development of a performance edition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2131.

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The genre of the Étude emerged with the increased popularity of the piano in the nineteenth century. It was often composed to provide practice material for perfecting a particular performance technique. Frederic Chopin (1819 – 1849) and Franz Liszt (1811 – 1886) are among the earliest composers whose Études are well established in the canon of concert piano repertory. Later emerged the new genre of Études that are considered worthy of the concert platform – the Concert Étude. Born in 1859 in Yaroslavl, Russia, Sergei Mikhailovich Lyapunov (1859 – 1924) was a highly regarded composer, pianist,
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Huntingford, James. "Tasteful piano performance in classic-era Britain." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2439.

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In recent decades, British solo piano repertoire of the Classic era has attracted increasing interest from researchers. A number of scholars have sought to identify the compositional elements that comprise late eighteenth- and early nineteenth-century British piano music. Despite this interest, there has been little research into the conventions of performance with which this repertoire is inextricably associated. Moreover, scant attention has been given to the notions of taste that are so often encountered in contemporaneous music treatises and philosophical writings. This thesis addresses th
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Murray, Peggy L. "Dancing in the Seminary: Reconstructing Dances for a 1749 Viceregal Peruvian Opera." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1448985385.

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Williams, Nicholas Mark. "A study on performing the Hungarian Rhapsodies in the Liszt tradition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2360.

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Franz Liszt’s Hungarian Rhapsodies (1851, 1853) have long been among the most popular collections of piano music. They have also long garnered a reputation for “superficial brilliance and effect” which seems to have influenced the way that famous pianists play the works in public. But would a performer immersed in the Liszt tradition have approached them differently? This dissertation aims to promote a re-evaluation of the Hungarian Rhapsodies from this perspective: considering Liszt’s own ideas on music and performance, the writings and recordings of his pupils, and Liszt’s book Des Bohémiens
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Vacek, Přemysl. "Barokáři - historicky poučená interpretace staré hudby v Česku očima jejích aktérů." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-410758.

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In this thesis I present a community of musicians dealing with a specific approach to music of older styles - historically informed performances (HIP). The aim is to answer the question as to why these promising classically educated musicians decided to leave the traditional career path in their field and chose alternative musical expression. I follow the rise and development of the professional scene of historically informed performances and its community from the turn of the 80s and 90s of the 20th century to the present day. Based on the analysis and interpretation of oral historical interv
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Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing." Thesis, 2009. http://hdl.handle.net/1807/18109.

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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a cult
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Books on the topic "Historical Informed Performance (HIP)"

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Travis Jr., Raphael. The Healing Power of Hip Hop. ABC-CLIO, LLC, 2015. http://dx.doi.org/10.5040/9798400662171.

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Using the latest research, real-world examples, and a new theory of healthy development, this book explains Hip Hop culture's ongoing role in helping Black youths to live long, healthy, and productive lives. In The Healing Power of Hip Hop, Raphael Travis Jr. offers a passionate look into existing tensions aligned with Hip Hop and demonstrates the beneficial quality it can have empowering its audience. His unique perspective takes Hip Hop out of the negative light and shows readers how Hip Hop has benefited the Black community. Organized to first examine the social and historical framing of Hi
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Solheim, Jennifer. The Performance of Listening in Postcolonial Francophone Culture. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940827.001.0001.

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The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer
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Guymer, Sheila. Eloquent Performance. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0023.

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This chapter explores how skilled performers use topical analysis in their interpretative decision-making, presenting material from lesson-interviews conducted with fortepianists Robert Levin and Bart van Oort. Drawing on treatises by Türk, Quantz, Kirnberger, Koch, and Leopold Mozart, it examines some historical foundations of Leonard Ratner’s topics, their connections with eighteenth-century concepts of musical character and expression, and topics’ limitations as tools in the process of analysis and interpretation. The chapter takes the Allegro movements of Mozart’s Sonata K. 333 as two case
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Fazio, Tom. The Essence of Lightness: A Roadmap to Peak Performance and Self-Mastery ...and Also a Historical Fiction Kung Fu Action Hip-Hop Humor Musical Epic. Tom Fazio, 2019.

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White, Miles. Affective Gestures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036620.003.0004.

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This chapter looks at the ways in which the body, aesthetic features of hip-hop music, and the material culture that surrounds it are deployed to construct affect and help delineate between what is meant by hard and hardcore, both as music and as masculine performance. In hip-hop culture, uniqueness and the expression of individual identity are prioritized through behavior, modes of dress, language, and other ways. Those who adopt these styles of behavior in mannerism, dress, speech, or attitude become part of a community of practice that is able to persist because the expressive codes associa
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Stulman, Louis. Prophetic Words and Acts as Survival Literature. Edited by Carolyn J. Sharp. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.013.18.

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Informed by historical interests and contemporary trauma theories, this chapter reads written prophecy in the Hebrew Bible—as opposed to its oral iteration—as ancient Israel’s disaster and survival literature. Specifically, the literarization of prophecy connects word and sign-act to prophetic performance of the realities of trauma. When this complex alchemy “enacts” the horrors of war, exile, and confinement through the prism of word and deed, it (1) gives expression to unspeakable loss, (2) generates space for the work of grief, and (3) constructs new trajectories of meaning for survivors st
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Espinosa, Ruben, ed. Shakespeare / Skin. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350261631.

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This volume offers a comprehensive array of readings of ‘skin’ in Shakespeare’s works, a term that embraces the human and animal, noun and verb. Shakespeare / Skindeparts from previous studies as it deliberately and often explicitly engages with issues of social and racial justice. Each of the chapters interrogates and centres ‘skin’ in relation to areas of expertise that include performance studies, aesthetics, animal studies, religious studies, queer theory, Indigenous studies, history, food studies, border studies, postcolonial studies, Black feminism, disease studies and pedagogy. By consi
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André, Naomi. Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.001.0001.

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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring to
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Cox, Christoph, and Daniel Warner, eds. Audio Culture. Bloomsbury Publishing Inc, 2017. http://dx.doi.org/10.5040/9781501318399.

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The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical languag
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Book chapters on the topic "Historical Informed Performance (HIP)"

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Fay, Richard, Daniel J. Mawson, and Nahielly Palacios. "8. Intercultural Musicking." In Teaching Music Performance in Higher Education. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.10.

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The term klezmer, from the Hebrew klei zemer (vessel of song), originally referred to a musician rather than to a music culture. Such musicians (plural form, klezmorim) were essential in the largely dance-based music culture of Yiddish-speaking Ashkenazi Jewish communities in Eastern Europe. We have taught klezmer ensemble performance over the last decade in a UK university music department. The klezmer ensemble (founded in 2011) is linked to an assessed module in ensemble performance taken by music undergraduates in a department which has ‘Western’ music theory and practice at its core despite becoming more diverse in recent years. The ensemble provides opportunities for performance both within the university and the local community. It functions as a space for intercultural ‘musicking’, enabling students to not only become familiar with a Musical Other but also develop a sense of situated performance. The aspiration is for the teaching and learning to be critically underpinned, alert to the need for appropriacy and the avoidance of appropriation. Accordingly, the students learn to perform klezmer in a culturally-, historically-. and functionally-informed way with a keen eye also on the situatedness of their contemporary performances. As informed by the work of Schön (himself a musician who illustrated his reflective processes with reference to musicians), as extended by Farrell, the chapter explores the processes and roles of various types of, and moments for, reflection in students' experience of klezmer performance, and it considers how such reflective practices contribute to the students' developing performative confidence and purposefulness vis-a-vis situated performance.
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Elsener, Bernhard, Tiziana Lombardo, Federica Cocco, Marzia Fantauzzi, Marie Wörle, and Antonella Rossi. "Breathing New Life into Historical Instruments. How to Monitor Corrosion." In Musikforschung der Hochschule der Künste Bern. Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-005.

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‘To play or to display’ is the dilemma that museums have to face, given the increasing trend towards historically informed performance. Brass instruments can suffer corrosion both during and after playing due to the high humidity inside them. To forestall or at least reduce corrosion, drying with a fan has been chosen as a preventive measure. The state of corrosion inside the tuning slides of the instruments was determined with a specially developed electrochemical sensor. The results of the project show that drying with a fan indeed reduces ongoing corrosion, when compared to a group of instruments played without preventive measures that showed an increasing corrosion rate over time.
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Ramirez Aranda, Nohemi, and Rubén Vezzoni. "Technology as a Tool for Environmental Engagement. The Case of Digital Participatory Mapping (DPM)." In Co-Creativity and Engaged Scholarship. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_14.

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AbstractThe conservativeness of traditional scientific methods, which nevertheless still tend to dominate much of the (social) sustainability sciences, is challenged by technological progress when untested tools of research are proposed as innovative scientific methods. This is the case of online platforms. The knowledge creation process in the digital era, including forms of research communication, can be profoundly different from traditional research methods. We already know how digital tools may influence the performance of research methods, mainly by maximizing the efficiency of data collection and elaboration. However, the original and collaborative practices in which they can develop, as well as their possibilities towards more democratic and inclusive participation processes, remain an unexplored domain. This chapter is an attempt to include digital technologies, and particularly the case of online participatory platforms based on geographic information systems (GIS), in the array of creative and visual research methods.We discuss software packages and current online approaches, such as web apps and native apps (Klettner & Huang, 2011, Scholte et al., 2018). The exploration of the innovative opportunities offered by digital tools starts with a concise review of their application from an historical perspective and its progression until recent times. The review focuses mostly on the options that digital platforms offer to involve citizens in the co-creation of research studies by enabling peer-to-peer environments that may inspire democratic discussions. The adoption of different types of online platforms is then discussed, not only presenting their virtues but also their downsides. This takes the form of an open discussion between the two authors, informed by each critically reflecting on their first-hand practical experiences in adopting digital tools in their research.We are entering a new era, in which access to big data—through platforms using GIS—provides resources and power to bring to the table the silent majority that is often overlooked in decision-making processes. The many possibilities offered by this unprecedented access to information are yet to be tested. Whether digital platforms will turn out to be a solution for improving the inclusiveness of research studies or not will likely depend on the consciousness and motivations of the designers and developers of these tools.
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Scheider, Magnus Tessing. "Contemporaneity in Historically Informed Performance." In Performing the Eighteenth Century: Theatrical Discourses, Practices, and Artefacts. Stockholm University Press, 2023. http://dx.doi.org/10.16993/bce.e.

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Discussing how historical acting principles might enrich today’s theatre, the author suggests that theatre scholars turn away from semiotics: a twentieth-century theory that still informs today’s views of eighteenth-century acting, largely due to Dene Barnett, an influential pioneer of Historically Informed Performance. As an alternative to semiotic representation, the author points to Jan Kott’s concept of contemporaneity, which refers to a special relationship between the text, the actor, and the spectator. This leads him to promote the finesse: a crucial but forgotten concept of eighteenth-century acting theory that was associated with the actor’s revealment of the uniqueness of the character.
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Rolfhamre, Robin. "Performative Musicology and HIP as Rhetoric and Pedagogy for the Past in Present and Future." In Views on Early Music as Representation. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.157.ch2.

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In this chapter, I examine early music performance, musicology and music pedagogy in order to propose moving from what I argue to be an understanding of HIP (historically informed performance) as something analogous to a learning outcome, to the idea of utilising its potential as a pedagogical and rhetorical practice, providing a different context in which to develop its potential. First, I present a canvas on which HIP is delineated. Next, I engage in a logical exercise to unlock and explore HIP’s inner workings. Expanding on John Hillis Miller’s (2009) performativity sub one and sub two, I proceed to propose four different types of performativity (i.e., performativities0–3) centred on John Langshaw Austin, Jacques Derrida and Judith Butler respectively. Providing some foundation for this exercise is a survey based on 132 music research journal articles published over the last five years in six representative, refereed journals. This leads me to a first attempt at proposing a dedicated performative musicology. Here, I introduce a rhetorical perspective on the past in the present based on the work of Antonis Liakos and Mitsos Bilalis (2017), Rivers and Weber (2011) and Rueger (2011). This ultimately leads to a final perspective of regarding HIP as a pedagogical activity providing a space for future ethical concerns. Or, more descriptively phrased: a pedagogy for the past in the present and future.
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Rink, John. "Authentic Chopin." In Music in Profile. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197565391.003.0006.

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Abstract Like chapter 5, the sixth chapter conjoins historical and analytical enquiry in promoting a particular kind of authenticity as a goal in performing music. In this respect, Chopin serves as a model, given that he ‘could remain true to his own artistic principles yet achieve a supremely musical result’. Three of his works (Scherzo in C♯ minor Op. 39, Prelude in D major Op. 28 No. 5, Concerto Op. 21) are studied in turn to show how a performer’s ‘second sight’ – or internalised, embodied understanding – of music can be obtained through the process of refraction highlighted in chapter 1. Topics addressed along the way include expressive form, rhythmic shape and musical language. One conclusion is that the exercise of intuition in performance can be rooted in historical knowledge among other things, which is to say that performance might be informed and intuitive at the very same time.
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Cook, Nicholas. "1. Music in the moment." In Music: A Very Short Introduction. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198726043.003.0002.

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This chapter focuses on music’s existence in real time. On the printed page, music is a series of notes fixed in the same relationships for all time. But as played and heard, music is a world of ‘endless movement, not discrete “forms” but continuous “forming”’—a world of lived experience that expresses human relationships in their most essential, stripped-down form. The chapter discusses the role of improvisation in both jazz and classical music, and the relationship between knowledge and practice as illustrated by historically informed performance (HIP); it also considers music’s ability to bring about social bonding and the political significance it acquires from this, whether in national anthems or protest songs.
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Correia, Jorge Salgado. "From Researcher/Performer to Artistic Researcher: Looking Back at the Past in Search of New Possibilities." In Views on Early Music as Representation. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.157.ch9.

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Musicians involved in historically informed performance are pulled in different directions, driven by two different motivations, and when one of them is taken to the extreme, the other runs the risk of being, if not overtaken, at least overshadowed. One is the motivation to observe and analyse the past, i.e., to contribute to historical knowledge; the other is the motivation to conceive a pertinent artistic intervention, i.e., to contribute to an artistic domain. Reinforced and reassured by an analysis of the chapters in this book, I argue that this contribution to an artistic domain is an essential component of artistic research, supported by documentation that clarifies the pertinence of artistic interventions, promotes more empathetic connections and deeper intimate fruition, and results in mythopoetic reconfigurations. Only a discourse in the narrative mode can possibly play this roll, because it does not exclude embodied meanings and processes of subjective self-disclosure (re-enactments). This discursive mode will enable a reflection on the pertinence of the (inter)subjective concerns that motivated the creation, the pertinence of the creative processes, and/or the aesthetic, ethical, and ecological pertinence of the artistic intervention. Thus, going beyond an understanding of musical practice as simple “artefact-performance-reception” and embracing a sense of possibility, a specific territory opens for HIP performers. It consists of an embodied intersubjective amalgam of beliefs, convictions and mythopoetic configurations, where they, as artistic researchers, can intervene creating new realities and provoking changes and reconfigurations – rhetorically, pedagogically, and above all artistically.
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"Introduction." In Reckoning with Restorative Justice. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027362-001.

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The introduction traces the troubled state of Indigenous incarceration in the United States and across the globe, as well as the origins of the Kailua Prison Writing Project at the Women's Community Correctional Center. The then warden, Mark Kawika Patterson, introduced Hawaiian programming in his trauma-informed care initiative to address the kinds of trauma experienced by the women inside, ranging from personal to collective historical trauma. Historical trauma is particularly deleterious for Native Hawaiian women, who are disproportionately represented among the prison population. State violence is the malefactor in Hawai‘i as the linkages of multiple forms of interpersonal violence and trauma with settler colonialism are palpable in the contemporary landscape. Expressivity (poetry, life writing, and performance) counters the demarcation of a civic death for those incarcerated and emphasizes the specificity of inside women's voices in Hawai‘i.
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Kivy, Peter. "On the Historically Informed Performance." In Music, Language, and Cognition. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199217663.003.0007.

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Abstract After my book Authenticities was published in 1995,1 various people told me that I was, in effect, beating a dead horse; for the book was an extended analysis and critique of what had come to be known as the “historically authentic performance”, which was supposed to be—at least as I understood it—the performance of a musical work in strict compliance with the way that work would have been performed in its own historical period and no other; or, if it didn’t come to the same thing, in strict compliance with the performing intentions of the composer. But, so I was told, no one was pedantic or dogmatic enough any longer to endorse or pursue that sort of thing. Rather, what was now endorsed and pursued in its stead was something much more reasonable, yet, I presume, still in the historicist spirit: it was called the “historically informed performance”. And none of the critical or analytical things I said in Authenticities, so these folks admonished me, had anything to do with that project at all.
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Conference papers on the topic "Historical Informed Performance (HIP)"

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Ueda, Tomoyo. "Marimba Plays Early Music: An Approach Informed by Historical Performance Practice." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0006.

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Kyffin, William, David Gandy, and Barry Burdett. "A Study of the Material Properties and Performance of Hot Isostatically Pressed (HIP) Type 316L Stainless Steel Powders and HIP Processing Available From Today’s International Supply Chain." In ASME 2018 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/pvp2018-84072.

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Hot Isostatic Pressing (HIP) of type 316L austenitic stainless steel powder has been an established manufacturing practice for more than twenty five years within the oil and gas sectors and more recently in the naval defence industry. The successful ASME Code Case approval (N-834) has facilitated the manufacture of 316L components via Powder Metallurgy HIP (PM/HIP) for the civil nuclear sector. However, a number of issues have tended to hinder the uptake of PM/HIP as an alternative viable manufacturing route for both castings and forgings. Firstly, the powder specification for 316L and HIP pro
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Liming, James K., and Ernest J. Kee. "Integrated Risk-Informed Asset Management for Commercial Nuclear Power Stations." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22033.

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The objective of this paper is to provide electric utilities with a concept for preparing and implementing integrated risk-informed asset management (RIAM) programs for power stations and generating companies. RIAM is a process by which analysts review historical performance and develop predictive logic models and data analyses to predict critical decision support figures-of-merit (or metrics) for generating station managers and electric utility company executives. These metrics include, but are not limited to, the following: profitability, projected revenue, projected costs, asset value, safe
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Liming, James K., and James E. Salter. "A Multiple Decision Support Metrics Method for Effective Risk-Informed Asset Management." In 12th International Conference on Nuclear Engineering. ASMEDC, 2004. http://dx.doi.org/10.1115/icone12-49025.

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The objective of this paper is to provide electric utilities with a concept for developing and applying effective decision support metrics via integrated risk-informed asset management (RIAM) programs for power stations and generating companies. RIAM is a process by which analysts review historical performance and develop predictive logic models and data analyses to predict critical decision support figures-of-merit (or metrics) for generating station managers and electric utility company executives. These metrics include, but are not limited to, the following: profitability, net benefit, bene
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Zhu, Hua, Hong Huang, Kehan Yin, Zejun Fan, Hai Jin, and Bang Liu. "CausalNET: Unveiling Causal Structures on Event Sequences by Topology-Informed Causal Attention." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/790.

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Causal discovery on event sequences holds a pivotal significance across domains such as healthcare, finance, and industrial systems. The crux of this endeavor lies in unraveling causal structures among event types, typically portrayed as directed acyclic graphs (DAGs). Nonetheless, prevailing methodologies often grapple with untenable assumptions and intricate optimization hurdles. To address these challenges, we present a novel model named CausalNET. At the heart of CausalNET is a special prediction module based on the Transformer architecture, which prognosticates forthcoming events by lever
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Chase, Jonathan, Duc Thien Nguyen, Haiyang Sun, and Hoong Chuin Lau. "Improving Law Enforcement Daily Deployment Through Machine Learning-Informed Optimization under Uncertainty." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/806.

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Urban law enforcement agencies are under great pressure to respond to emergency incidents effectively while operating within restricted budgets. Minutes saved on emergency response times can save lives and catch criminals, and a responsive police force can deter crime and bring peace of mind to citizens. To efficiently minimize the response times of a law enforcement agency operating in a dense urban environment with limited manpower, we consider in this paper the problem of optimizing the spatial and temporal deployment of law enforcement agents to predefined patrol regions in a real-world sc
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Bhatt, Saachin, Mustansar Ghazanfar, and Mohammad Hossein Amirhosseini. "Machine Learning based Cryptocurrency Price Prediction using Historical Data and Social Media Sentiment." In 5th International Conference on Machine Learning & Applications. Academy & Industry Research Collaboration, 2023. http://dx.doi.org/10.5121/csit.2023.131001.

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The purpose of this research is to investigate the impact of social media sentiments on predicting the Bitcoin price using machine learning models, with a focus on integrating onchain data and employing a Multi Modal Fusion Model. For conducting the experiments, the crypto market data, on-chain data, and corresponding social media data (Twitter) has been collected from 2014 to 2022 containing over 2000 samples. We trained various models over historical data including K-Nearest Neighbors, Logistic Regression, Gaussian Naive Bayes, Support Vector Machine, Extreme Gradient Boosting and a Multi Mo
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AL-Otaibi, Basel, Issa Abu Shiekah, Manish Kumar Jha, et al. "60 Years Field Performance Data-Driven Analytics to Generate Updated Waterflood Field Development Plan in a North Kuwait Giant Carbonate Reservoir." In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/207231-ms.

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Abstract After 40 years of depletion drive, a mature, giant and multi-layer carbonate reservoir is developed through waterflooding. Oil production, sustained through infill drilling and new development patterns, is often associated with increasingly higher water production compared to earlier development phases. A field re-development plan has been established to alleviate the impact of reservoir heterogeneities on oil recovery, driven by the analysis of the historical performance of production and injection of a range of well types. The field is developed through historical opportunistic deve
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Elghoneimy, Mahmoud, Nguyen Hiep, Ayrat Fakhrylgayanov, et al. "Data-Driven Drilling Performance Improvement: The Synergy of Digitalization and Offset Well Data Utilization." In International Petroleum Technology Conference. IPTC, 2024. http://dx.doi.org/10.2523/iptc-24314-ms.

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Abstract Data-driven optimization for drilling operations is becoming increasingly important in the oil and gas industry. Digitalization and utilization of historical offset well data can provide critical insights into improving drilling performance and aid in making informed decisions for the best selection of drilling parameters. This paper aims to present an integrated approach between a research center and the field that leverages offset well data and drilling engineering domain knowledge with data science and machine-learning models to improve drilling performance through more stable dril
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Retagne, Wiebke. "Evolutionary predictive model of the space debris environment." In IV Aerospace PhD-Days. Materials Research Forum LLC, 2024. http://dx.doi.org/10.21741/9781644903193-30.

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Abstract. In recent years, the exponential growth of space debris has become evident. To mitigate debris problem, a precise model for predicting the space debris environment is necessary. This research project tackles this challenge of space debris modelling, through adopting the continuum approach. In the continuum approach a space debris cloud is treated as a fluid. As a novel aspect, the model will include a detailed uncertainty analysis. The challenge here is to find a unified approach to deal with the different uncertainty sources. The analysis will help to identify the largest uncertaint
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Reports on the topic "Historical Informed Performance (HIP)"

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Kruse, C., Dong Hun Kang, Kenneth Mitchell, Patricia DiJoseph, and Marin Kress. Freight fluidity for the Port of Baltimore : vessel approach and maritime mobility metrics. Engineer Research and Development Center (U.S.), 2022. http://dx.doi.org/10.21079/11681/43000.

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The United States Army Corps of Engineers is tasked with maintaining waterborne transportation system elements. Understanding channel utilization by vessels informs decisions regarding operations, maintenance, and investments in those elements. Historically, investment decisions have been informed by safety, environmental considerations, and projected economic benefits of alleviating channel restrictions or shipping delays (usually derived from models). However, quantifying causes and impacts of shipping delays based on actual historical vessel location data and then identifying which causes c
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Financial Stability Report - First Half of 2022. Banco de la República, 2023. http://dx.doi.org/10.32468/rept-estab-fin.sem1.eng-2022.

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Banco de la República’s main objective is to preserve the purchasing power of the currency in coordination with the general economic policy that is intended to stabilize output and employment at long-term sustainable levels. Properly meeting the goal assigned to the Bank by the 1991 Constitution critically depends on preserving financial stability. This is understood to be a general condition in which the financial system evaluates and manages the financial risks in a way that facilitates the economy’s performance and efficient allocation of resources while, at the same time, it is able to, on
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