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Relevant bibliographies by topics / Nineteenth-century performance practice

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Academic literature on the topic 'Nineteenth-century performance practice'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Nineteenth-century performance practice"

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Doğantan-Dack, Mine. "Theoretical and Critical Contexts in Nineteenth-century Performance Practice." Nineteenth-Century Music Review 9, no. 01 (2012): 3–5. http://dx.doi.org/10.1017/s1479409812000043.

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Walker, Margaret E. "The ‘Nautch’ Reclaimed: Women's Performance Practice in Nineteenth-Century North India." South Asia: Journal of South Asian Studies 37, no. 4 (2014): 551–67. http://dx.doi.org/10.1080/00856401.2014.938714.

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Ronyak, Jennifer. "Schubert’s “Ständchen” in the Voice of the Cinematic Amateur." 19th-Century Music 42, no. 3 (2019): 157–83. http://dx.doi.org/10.1525/ncm.2019.42.3.157.

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Scholars who have analyzed performances of Schubert’s Lieder have generally focused on the voices of masterful professionals, whether looking at performances before or during the age of sound recordings. This tendency overlooks one historically important group of performers: the amateurs who made up the broad marketplace for the genre during Schubert’s lifetime and throughout the nineteenth century. Studying this group of performers with any level of aesthetic particularity is, however, difficult: documentary evidence of particular singers in this group in the nineteenth century and even the e

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Pradhan, Aneesh. "Perspectives on performance practice: Hindustani music in nineteenth and twentieth century Bombay (Mumbai)." South Asia: Journal of South Asian Studies 27, no. 3 (2004): 339–58. http://dx.doi.org/10.1080/1479027042000327165.

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Clarke, Martin V. "The Illingworth Moor Singers' Book: A Snapshot of Methodist Music in the Early Nineteenth Century." Nineteenth-Century Music Review 7, no. 1 (2010): 81–103. http://dx.doi.org/10.1017/s1479409800001154.

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Congregational song occupies a central place in the history of Methodism and offers an insight into the theological, doctrinal, cultural and educational principles and practices of the movement. The repertoire, performance styles and musical preferences in evidence across Methodism at different points in its history reflect the historical influences that shaped it, the frequent tensions that emerged between local practices and the movement's hierarchy and the disputes that led to a proliferation of breakaway groups during the nineteenth century. The focus of this article will be the implicit t

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Moufarrej, Guilnard. "Maronite Music: History, Transmission, and Performance Practice." Review of Middle East Studies 44, no. 2 (2010): 196–215. http://dx.doi.org/10.1017/s2151348100001518.

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This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the

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Brown, Kellie D. "Theory and Practice in Late Nineteenth-Century Violin Performance: An Examination of Style in Performance, 1850–1900." Music Educators Journal 91, no. 4 (2005): 64. http://dx.doi.org/10.2307/3400161.

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Shevtsova, Maria. "Social Practice, Interdisciplinary Perspective." Theatre Research International 26, no. 2 (2001): 129–36. http://dx.doi.org/10.1017/s030788330100013x.

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The structuration and definition of disciplines – an eighteenth- and nineteenth-century project – gave way, in the second half of the twentieth century in the European and American academies, to their destructuration, although certainly not everywhere, nor to unanimous approval. For all the resistance that it has encountered, however, this movement towards the dissolution of disciplinary boundaries has taken root. It can be traced back to the 1960s, a period whose economic growth and economic optimism freed up mental space, allowing energies to focus on political and sociocultural injustices a

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Williams, Richard David. "Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century." Journal of Hindu Studies 12, no. 3 (2019): 319–38. http://dx.doi.org/10.1093/jhs/hiz017.

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Abstract Across the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosoph

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Savilonis, Margaret F. "Women, Modernism, & Performance." Theatre Survey 47, no. 1 (2006): 142–44. http://dx.doi.org/10.1017/s0040557406360097.

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Penny Farfan's Women, Modernism, & Performance, six intricately woven essays about a handful of late nineteenth- and early twentieth-century female artists, is an absorbing study centered on the premise that “the feminist-modernist aesthetics of key figures in the fields of dance and literature developed in part out of their engagement with dramatic literature and theatrical practice, making their lives and work a part of theatre history” (2). Employing broad definitions of both performance and modernism, Farfan casts a wide net, adopting what she describes as a “‘maximalist’ approach” (11

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Dissertations / Theses on the topic "Nineteenth-century performance practice"

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Shifrin, Ken. "Orchestral trombone practice in the nineteenth century with special reference to the alto trombone." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368133.

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Kane, Lynn Marie 1977. "The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments." Thesis, University of Oregon, 2006. http://hdl.handle.net/1794/3057.

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xi, 387 p.<br>A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006<br>The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and h

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Kane, Lynn Marie. "The influence of basso continuo practice on the composition and performance of late eighteenth- and early nineteenth-century Lied accompaniments /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192183671&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2006.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 362-387). Also available for download via the World Wide Web; free to University of Oregon users.

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Kim, Mo-Ah. "Towards a Revival of Lost Art: Clara Wieck Schumann's Preluding and Selected 20th-Century Pianist-Composers' Approaches to Preluding." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1563873346983736.

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Knapik, Stefan. "Early twentieth-century discourses of violin playing." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:9144cfab-0e11-4ea9-80cb-842d07845ce8.

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The thesis is a critical reading of pedagogical and biographical texts by and on violinists, written in the early twentieth century. It contributes to historical and discursive studies by providing a limited engagement with a largely neglected group of historical sources relating to musical performance, and further advances the historical research on subjectivity, the body, pathology, and erotics, in relation to discourses of music. The thesis also contributes to studies of performance practice, and empirical and psychological studies of musical performance, in that it engages with discursive

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Hellner, Jean Marie. "Robert Schumann's Symphony in D Minor, Op. 120: A Critical Study of Interpretation in the Nineteenth-Century German Symphony." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/hellner%5Fjean%5Fmarie/index.htm.

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Shaw, Martyn. "The 'Nicholsonian effect' : aspects of 'tone' in early nineteenth-century flute performance practice in England, with particular reference to the work of Charles Nicholson (1795-1837)." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/4923/.

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Charles Nicholson (1795-1837) was one of the most important figures in the evolution of the flute. His influence on the design of the Boehm flute is widely acknowledged. However, the contribution he made as a catalyst for developments in flute performance practice in early nineteenth-century England, is not. Such was Nicholson’s reputation for variety of tone in his playing, that the term ‘Nicholsonian effect’ was coined. This research examines the tone of the flute, and uniquely places it within the context of the interrelationship between performance, pedagogy and flute-design in Nicholson’s

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Noorduin, Marten Albert. "Beethoven's tempo indications." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/beethovens-tempo-indications(61262f19-aa03-47db-823e-ad5d37e38659).html.

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Beethoven’s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. There are several reasons for this. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Thirdly, discussions of Beethoven’s tempo have typically focussed on works in one p

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Alvar, Blomgren. "”By the iron hand of oppression" : The performance of the parliamentary election contest in Nottingham and Middlesex 1802-1803." Thesis, Stockholms universitet, Historiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-143964.

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The aim of this thesis is to investigate how politics was done at the level of the parliamentary constituencies at the time of the treaty of Amiens 1802-1803. This is achieved through two case studies of the elections in Middlesex and Nottingham, which are investigated as social practices. This thesis argues that understandings of masculinity and national identity, as well as questions about the nature of the constitution and citizen rights were central to participants in the extraparliamentary political process. Collective emotions were also highly important in the process of mobilising polit

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Paetsch, Annabelle. "Performance practices in Chopin's piano sonatas, Op. 35 and 58, a critical study of nineteenth-century manuscript and printed sources." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58412.pdf.

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Books on the topic "Nineteenth-century performance practice"

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Orchestral performance practices in the nineteenth century: Size, proportions, and seating. UMI Research Press, 1986.

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Nineteenth-century piano music: Essays in performance and analysis. Garland Publishing, 1996.

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Milsom, David. Theory and Practice in Late Nineteenth-Century Violin Performance: An Examination of Style in Performance, 1850-1900. Ashgate Publishing, 2003.

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Witten, David. Nineteenth-Century Piano Music: Essays in Performance and Analysis (Garland Reference Library of the Humanities). Routledge, 1996.

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Koury, Daniel J. Orchestral Performance Practices in the Nineteenth Century: Size, Proportions, and Seating (Studies in Musicology). University of Rochester Press, 1989.

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Bailey, John Robert. Maximilian Schwedler's Flute and flute-playing: Translation and study of late nineteenth-century German performance practice. 1990.

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Reckson, Lindsay V. Realist Ecstasy. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479803323.001.0001.

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Realist Ecstasy: Religion, Race, and Performance in American Literature recovers a series of ecstatic performances in late nineteenth- and early twentieth-century American realism. From camp meetings to Native American ghost dances to storefront church revivals, Realist Ecstasy explores how realism represents ecstatic bodies as objects of fascination, transforming spiritual experience into the very material of realist description. In an era of “separate but equal” religious pluralism and systematic racial terror, realism mobilized the gestural and performative idioms of religious ecstasy to co

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Yunhwa Rao, Nancy. The Chinese Exclusion Act and Chinatown Theaters. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040566.003.0003.

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This chapter focuses on immigration policies in the United States and how they impacted Chinatown opera theaters from their burgeoning in the nineteenth century through the passage of the Chinese Exclusion Act of 1882 and into the early twentieth century. Whereas Chinese theaters rose to prominent entertainment in the 1870s, with four concurrent theaters in San Francisco, late nineteenth century exclusionary regulations severely curtailed previously vibrant Chinatown opera theaters. It eventually cut off the flow of performers and limiting companies’ performance opportunities by early 20th cen

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Gooley, Dana. Fantasies of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.001.0001.

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This book is the first history of keyboard improvisation in European music in the postclassical and romantic periods (c. 1815–1870). Grounded in primary sources, it documents practices of improvisation on the piano and the organ, with a particular emphasis on free fantasies and other forms of free playing. Case studies of performers such as Abbé Vogler, J. N. Hummel, Ignaz Moscheles, Robert Schumann, Carl Loewe, and Franz Liszt describe in detail the motives, intentions, and musical styles of the nineteenth century’s leading improvisers. The book further discusses the reception and valuation o

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Goertzen, Chris. George P. Knauff's Virginia Reels and the History of American Fiddling. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496814272.001.0001.

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George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. This book uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. It first discus

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Book chapters on the topic "Nineteenth-century performance practice"

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Rowland, David. "Performance practice in the nineteenth-century concerto." In The Cambridge Companion to the Concerto. Cambridge University Press, 2005. http://dx.doi.org/10.1017/ccol9780521834834.014.

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Schatzky, Brigitte. "The German Stage in the Nineteenth Century." In European Theatre Performance Practice, 1750–1900. Routledge, 2016. http://dx.doi.org/10.4324/9781315255859-ch-13.

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Emeljanow, Victor. "Erasing the Spectator: Observations on Nineteenth Century Lighting." In European Theatre Performance Practice, 1750–1900. Routledge, 2016. http://dx.doi.org/10.4324/9781315255859-ch-17.

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Davis, Jim, and Victor Emeljanow. "New Views of Cheap Theatres: Reconstructing the Nineteenth-Century Theatre Audience." In European Theatre Performance Practice, 1750–1900. Routledge, 2016. http://dx.doi.org/10.4324/9781315255859-ch-26.

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Kippen, James. "Mapping a Rhythmic Revolution Through Eighteenth- and Nineteenth-Century Sources on Rhythm and Drumming in North India." In Thought and Play in Musical Rhythm. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0011.

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The Indo-Persian and vernacular literatures from the late seventeenth to nineteenth centuries on rhythm and drumming in northern India bridge an enormous gap between archaic Sanskrit sources and the theory and practice of the last 100 years. This chapter sets many of these key texts in historical perspective and explores the trajectory of their descriptions and notations of tāl-metric-rhythmic structures that have always served to organize composition and improvisation. A shift is noted from quantitative to qualitative measurements as writers employed the tools of Arabic prosody and began to articulate new concepts: ṭheka-configurations of strokes by which tāls are identified and maintained in performance; ḵẖālī, the “empty” or “unsounded” beat; and band, patterns transformed by the absence of bass drum sonorities. Such changes are arguably due to the rapid rise of the tabla in the eighteenth and nineteenth centuries, which gradually usurped the roles of other drums.

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"Orthodoxies, Paradoxes, and Contradictions: Performance Practices in Nineteenth-Century Piano Music." In Nineteenth-Century Piano Music. Routledge, 2013. http://dx.doi.org/10.4324/9781315024479-10.

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Brennan, Matt. "Clever drummers, primitivism, entrepreneurialism, and the invention of the trap drummer’s outfit." In Kick It. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190683863.003.0002.

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This chapter documents the prehistory of drum kit performance practice and the invention of the trap drummer’s outfit. First, it examines the impact of the transatlantic slave trade on American musical culture. Second, it explores the history of the snare drum, bass drum, and cymbals, and how they come together in ensemble performance. Third, it discusses the emergence of highbrow and lowbrow culture and the consequences for the status of drummers. Fourth, it discusses the types of music that a drummer was likely to play working in nineteenth-century USA. Fifth, it examines the tinkerers, inventors, and entrepreneurs who developed the key components of the early drum kit, known in its time as the ‘trap drummer’s outfit’.

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Ritter, Julia M. "Tracing Choreography." In Tandem Dances. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051303.003.0002.

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Chapter 1 contextualizes choreography as integral to, yet invisibilized within, immersive performance. The chapter's focus is the thematic concerns of choreography in Western dance history, specifically the intentionality with which it is created, the portability of its concepts outside of the realm of formal dance, and its resulting ubiquity across domains in the twenty-first century. Deployed by European aristocrats in the sixteenth and seventeenth centuries as a practice for reinforcing structures of ritual and power when assigning societal roles, choreography as a term emerged alongside the professionalization of dance in the eighteenth and nineteenth centuries. In the mid-twentieth century, choreography became a tacitly borrowed resource for creators of physical theater. In the twenty-first century, choreography is seen as an expanded practice, having surged beyond the bounds of dance to the point that it can be used to organize the behavior of spectators such that they perceive themselves to be immersed.

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Graham, Sandra Jean. "Lessons and Legacies." In Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0009.

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The earliest literary recognitions of black music set up an artificial dichotomy between “white” and “black” traditions, suggesting for each of these two categories an essence and a stability that didn’t exist. Concert spirituals, commercial spirituals, and indeed the entire black entertainment industry of the nineteenth century were shaped by a common dynamic. Music, dance, comedy, performance practice, and other expressive strategies that had emerged among black Americans—and that were closely bound up with their social and religious lives—were made to conform to the preferences and expectations of white audiences. This conclusion looks at why the spiritual became the common denominator among the different genres in this new entertainment industry, as well as the shift to black managers, arrangers, impresarios, and the role of women entertainers at this time.

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Graham, Sandra Jean. "The Fisk Concert Spiritual." In Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0003.

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This chapter explores the process of musically and culturally translating oral folk spirituals into notated arranged spirituals performed on the concert stage. The American Missionary Association hired people’s song composer and church musician Theodore F. Seward to transcribe the Fisk Jubilee Singers’ spirituals as arranged for them by their director, George L. White. Using Seward’s transcriptions as well as those by Jubilee Singers Ella Sheppard and Thomas Rutling, plus reviews and primary sources, as well as early recordings, this chapter recreates as far as possible the performance practice of the concert spirituals sung by the Fisk Jubilee Singers on their tours. The reception of the Fisk Jubilee Singers is surveyed through numerous reviews and is interpreted to show how a codified discourse about spirituals was created in the last quarter of the nineteenth century, which stressed, for example, primitivism, wildness, nature, and the inherent musicality of the African race.

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