1st Edition
Investigating Musical Performance Theoretical Models and Intersections
Introduction
Gianmario Borio, Giovanni Giuriati, Alessandro Cecchi and Marco Lutzu
PART I: Overviews/Perspectives
1 Empirical methods in the study of music performance: An interdisciplinary history
Martin Clayton
2 Musical performance as a medium of value
Timothy D. Taylor
PART II: Listening/Positioning
3 ‘Musical Personae’ revisited
Philip Auslander
4 The performer’s experience: Positional listening and positional analysis
John Covach
5 Music’s techno-chronemics
Martin Scherzinger
PART III: Sign/Sound
6 Who’s keeping the score?
Janet Schmalfeldt
7 Judging Chopin: An evaluation of musical experience
John Rink
8 Towards a consideration of the contemporary musical work as ‘a work in progress’: Closing the gaps between the score, the form and the future of the work
Pierre Michel
PART IV: Gesture/Shape
9 Between music and noise: The discussion of portamento and its socio-aesthetic implications during the long nineteenth century
Camilla Bork
10 Radical staging and the habitus of the singer
Mary Ann Smart
11 The physiognomy of the voice: Vocal gestures in Italian experimental music (1960–1970)
Michela Garda
12 Sentimental gesture and the politics of ‘shape’ in the performances of Abd al-Halim Hafiz
Martin Stokes
13 Marking the sam: tal, tempo and gesture in khyal performance
Laura Leante
14 Lokapañca: Analysing structure, performance and meanings of a temple song in Nepal
Richard Widdess
Biography
Gianmario Borio is Professor of Musicology at the University of Pavia and Director of the Institute of Music at the Fondazione Giorgio Cini, Venice. He is a member of the Academia Europaea, corresponding member of the American Musicological Society and corresponding fellow of the British Academy. His publications deal with several aspects of twentieth-century music (theory and aesthetics, political background, the audiovisual experience), the history of musical concepts and the theory of musical form.
Giovanni Giuriati is Professor of Ethnomusicology at the University of Rome ‘La Sapienza’ and Director of the Intercultural Institute for Comparative Music Studies at the Fondazione Giorgio Cini, Venice. He has researched and published extensively on the traditional music of Cambodia and Indonesia, and on the instrumental music and the relationship between music and festivals in southern Italy.
Alessandro Cecchi is Lecturer of Musicology at the University of Pisa. His publications mainly deal with music theory, musical aesthetics and twentieth-century music, including film music. He is director of the book series Musica.Performance.Media (NeoClassica).
Marco Lutzu is Lecturer of Ethnomusicology at the University of Cagliari. He has carried out fieldwork in Sardinia and Cuba, focusing on the relationship between music and religion, improvised poetry, hip hop culture and performance analysis. He is the scientific director of the Encyclopedia of Sardinian Music.
