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A Musicology of Performance

Dorottya Fabian


Texte intégral

Abrams, M [eyer] H [oward], A Glossary of Literary Terms, 4th edn (New York: Holt, Rinehart and Winston, 1981).

Adorno, Theodor Wesendunk, ‘Bach Defended against its Devotees’, in Prisms, Engl. trans. by Shierry and Samuel Weber (Cambridge, MA: MIT Press, 1981 [1967]), pp. 133-146 (Original German publication in 1951 as Bach gegen seine Liebhaber verteidigt).

Aldrich, Putnam, Ornamentation in Bach’s Organ Works (New York: Coleman-Ross, 1950).

[Anders] Stern, Günther, ‘Philosophische Untersuchungen zu musikalischen Situationen’, typescript, Österreichisches Literaturarchiv der Österreichischen Nationalbibliothek, Vienna. Nachlass Günther Anders. ÖLA 237/04.

Anonymous, ‘Viktoria Mullova and Kristian Bezuidenhout’, Concert Program Notes for concert presented on 12 March 2011 as part of the 2010-2011 Camerata Musica International Artists Series in Cambridge (UK),

Anonymous, ‘One to Watch: Sergey Khachatryan, Violinist’ [For the Record], Gramophone, 80/962 (January 2003), 11.

Applebaum, Samuel, ed., The Way They Play: Illustrated Discussions with Famous Artists and Teachers, Books 1, 4 (Neptune City, NJ: Paganini Publications, 1975-1983).

Ashley, Tim, ‘Viktoria Mullova – Concert Review’, The Guardian, Monday 10 April 2000,

Auer, Leopold, Violin Master Works and Their Interpretation (New York: Carl Fischer, 2012).

Auslander, Philip, ‘Musical Personae’, The Drama Review, 50/1 (2006), 100-119,

Babbitt, Milton, ‘The Composer as Specialist’, reprinted in The Collected Essays of Milton Babbitt, ed. by Stephen Peles, Stephen Dembski, Andrew Mead, and Joseph Straus (Princeton: Princeton University Press, 2003), pp. 48-54 [originally published in High Fidelity (February 1958) as ‘Who Cares if you Listen’].

Babbitt, Milton, ‘A Life of Learning’, Charles Homer Haskins Lecture for 1991. ACLS Occasional Paper, 17 (New York: American Council of Learned Societies, 1991).

Badel, James, ‘On Record: Christopher Hogwood’, Fanfare, 9/2 (November-December 2005), 90.

Bangert, Daniel, ‘Doing without Thinking: Processes of Musical Decision-Making in Period Instrument Performance’ (PhD Thesis, The University of New South Wales, 2012).

Bangert, Daniel, Dorottya Fabian, Emery Schubert, and Daniel Yeadon, ‘Performing Solo Bach: A Case Study of Musical Decision Making’, Musicae Scientiae, 18/1 (2014), 35-52,

Barton Pine, Rachel, On-line Biography,

Barton Pine, Rachel, The Rachel Barton Pine Collection: Original Compositions, Arrangements, Cadenzas and Editions for Violin (New York: Carl Fischer, 2009).

Baudelaire, Charles, ‘The Painter of Modern Life’, in The Painter of Modern Life and Other Essays, ed. and trans. by Jonathan Mayne (London: Phaidon Press, 2012 [1995]), pp. 1-41.

Bazzana, Kevin, Glenn Gould: The Performer in the Work (New York: Oxford University Press, 1997).

Bazzana, Kevin, Wondrous Strange: The Life and Art of Glenn Gould (Toronto: McClelland and Stewart, 2003).

Ben-Amos, Dan, Do We Need Ideal Types (in Folklore)? An Address to Lauri Hinko (Turku, Finland: Nordic Institute of Folklore, 1992).

Berkowitz, Aaron L., The Improvising Mind: Cognition and Creativity in the Musical Moment (New York: Oxford University Press, 2010),

Berry, Wallace, Musical Structure and Performance (New Haven: Yale University Press, 1989).

Bharucha, Jamshed J., ‘Neural Nets, Temporal Composites, and Tonality’, in The Psychology of Music (2nd edn), ed. by Diana Deutsch (San Diego: Academia Press, 1999), pp. 413-440,

Bononcini, Giovanni, Sonate da chiesa a due violini (Venice: [n. p.], 1672).

Bowen, José A., ‘Tempo, Duration, and Flexibility: Techniques in the Analysis of Performance’, Journal of Musicological Research, 16/2 (1996), 111-156,

Bowen, José A., ‘Performance Practice versus Performance Analysis: Why Should Performers Study Performance?’, Performance Practice Review, 9/1 (1996), 16-35,

Bowen, José A. ‘Finding the Music in Musicology: Performance History and Musical Works’, in Rethinking Music, ed. by Nicholas Cook and Mark Everist (Oxford and New York: Oxford University Press, 1999), pp. 424-451.

Brown, Clive, ‘Performing Nineteenth-Century Chamber Music: The Yawning Chasm between Contemporary Practice and Historical Evidence’, Early Music, 38 (2010), 476-480,

Burney, Charles, The Present State of Music in France and Italy (London, T. Becket & Co., 1771).

Burney, Charles, A General History of Music (New York: Dover Books, 1957 [1776]).

Butt, John, Bach Interpretation: Articulation Marks in Primary Sources (Cambridge: Cambridge University Press, 1990).

Butt, John, Bach: B minor Mass (Cambridge: Cambridge University Press, 1991),

Butt, John, ‘Bach Recordings since 1980: A Mirror of Historical Performance’, in Bach Perspectives 4, ed. by David Schulenberg (Lincoln and London: University of Nebraska Press, 1999), pp. 181-198.

Butt, John, Playing with History: The Historical Approach to Musical Performance (Cambridge: Cambridge University Press, 2002),

Cannam, Chris, Christian Landone, and Mark Sandler, ‘Sonic Visualiser: An Open Source Application for Viewing, Analysing, and Annotating Music Audio Files’, in Proceedings of the ACM Multimedia 2010 International Conference (Florence, October 2010), 1467-1468,

Carman, Taylor, ‘The Body in Husserl and Merleau-Ponty’, Philosophical Topics, 27/2 (1999), 205-226,

Chaffin, Roger, Gabriela Imreh, and Mary E. Crawford, Practicing Perfection: Memory and Piano Performance (Mahwah, NJ: Lawrence Erlbaum, 2002),

Cilliers, Paul, Complexity and Postmodernism: Understanding Complex Systems (London: Routledge, 1998).

Clarke, Eric, ‘Structure and Expression’, in Musical Structure and Cognition, ed. by Peter Howell, Ian Cross, and Robert West (London: Academic Press, 1985), pp. 209-236.

Clarke, Eric, ‘Expression in Performance: Generativity, Perception and Semiosis’, in The Practice of Performance, ed. by John Rink (Cambridge: Cambridge University Press, 1995), pp. 21-54,

Clarke, Eric, ‘Empirical Methods in the Study of Performance’, in Empirical Musicology: Aims, Methods, Prospects, ed. by Eric Clarke and Nicholas Cook (Oxford and New York: Oxford University Press, 2004), pp. 77-102,

Coulter, Todd J., ‘Editorial: Music as Performance — The State of the Field’, Contemporary Theatre Review, 21/3 (2011), 259-260,

Cook, Nicholas, Music, Imagination and Culture (Oxford: Clarendon Press, 1992).

Cook, Nicholas, ‘The Domestic Gesamtkunstwerk, or Record Sleeves and Reception’, in Composition, Performance, Reception: Studies in the Creative Process in Music, ed. by Wyndham Thomas (Aldershot: Ashgate, 1998), pp. 105-117.

Cook, Nicholas, ‘Between Process and Product: Music and/as Performance’, Music Theory Online, 7/2 (April 2001),

Cook, Nicholas, ‘Methods for Analysing Recordings’, in The Cambridge Companion to Recorded Music, ed. by Nicholas Cook, Eric F. Clarke, Daniel Leech-Wilkinson, and John Rink (Cambridge: Cambridge University Press, 2009), pp. 221-245,

Cook, Nicholas, Eric Clarke, Daniel Leech-Wilkinson, and John Rink, eds., The Cambridge Companion to Recorded Music (Cambridge: Cambridge University Press, 2009),

Cook, Nicholas, ‘Introduction: Refocusing Theory’, Music Theory Online, 18 (2012),

Cook, Nicholas, ‘Bridging the Unbridgeable? Empirical Musicology and Interdisciplinary Performance Studies’, in Taking it to the Bridge: Music as Performance, ed. by Nicholas Cook and Richard Pettengill (Ann Arbor: University of Michigan Press, 2013), pp. 70-85.

Cook, Nicholas, Beyond the Score: Music as Performance (New York: Oxford University Press, 2014),

Couperin, François, Preface to Pièces de clavecin, Book 3 (Paris, 1722).

Cowan, Rob, ‘Bach: Violin Sonatas and Partitas, BWV 1001-1006, Julia Fischer vn, Pentatone PTC 5186072 (150 minutes DDD)’, Gramophone, 89/993 (June 2005), 72.

Creighton, James, Discopaedia of the Violin, 1889-1971 (Toronto: University of Toronto Press, 1974).

Crick, Jamie, ‘Classic FM speaks to Viktoria Mullova’,

Cross, Ian, and Iain Morley, ‘The Evolution of Music: Theories, Definitions and the Nature of the Evidence’, Communicative Musicality: Exploring the Basis of Human Companionship, ed. by Stephen Malloch and Colwyn Trevarthen (Oxford: Oxford University Press, 2009), pp. 61-81.

Cullingford, Martin, ‘The Experts’ Expert — Violinists’, Gramophone, 82/986 (November 2004), 46.

Damasio, Antonio, The Self Comes to Mind: Constructing the Conscious Brain (New York: Vintage, 2012).

Danton, David, ‘Bach Partitas no. 1 in B minor BWV 1002 & no. 3 in E Major BWV 1006, Sonata No. 2 in A minor BWV 1003. Ilya Gringolts (violin). Deutsche Grammophon 474 235-2’, The Strad, 114/1363 (Nov 2003), 1269.

Davies, Stephen, Musical Works and Performances: A Philosophical Exploration (New York: Oxford University Press, 2001),

Davidson, Jane W., ‘What Type of Information is Conveyed in the Body Movements of Solo Musician Performers?’, Journal of Human Movement Studies, 6 (1994), 279-301.

Day, Timothy, A Century of Recorded Music: Listening to Musical History (New Heaven and London: Yale University Press, 2000).

De Landa, Manuel, A Thousand Years of Non-linear History (New York: Swerve Editions, 2000).

Deleuze, Gilles, Difference and Repetition, Engl. trans. by Paul Patton (New York: Columbia University Press, 1994).

Deleuze, Gilles, and Felix Guattari, A Thousand Plateaus, Engl. trans. by Brian Massumi (London: Bloomsbury Academic, 2013).

Deutsch, Diana, ed., The Psychology of Music, 2nd edn (San Diego: Academia Press, 1999).

Dirst, Matthew, ‘Bach’s French Overtures and the Politics of Overdotting’, Early Music, 25/1 (1997), 35-44,

Distler, Jed, ‘Review: Bach 3 Sonatas and 3 Partitas, BWV1001-1006, Gidon Kremer vn, ECM New Series 4767291 (131 minutes: DDD)’, Gramophone, 83/1001 (January 2006), 63.

Doğantan-Dack, Mine, ‘Philosophical Reflections on Expressive Music Performance’, in Expressiveness in Music Performance: Empirical Investigations across Styles and Cultures, ed. by Dorottya Fabian, Renee Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), pp. 3-21,

Dolan, David, John A. Sloboda, Henrik Jeldtoft Jensen, Björn Crüts, and Eugene Feygelson, ‘The Improvisatory Approach to Classical Music Performance: An Empirical Investigation into its Characteristics and Impact’, Music Performance Research, 6 (2013), 1-38,

Dolmetsch, Arnold, The Interpretation of the Music of the Seventeenth and Eighteenth Centuries (London: Novello, 1949/1915 [R1969]).

Donington, Robert, The Interpretation of Early Music (London: Faber, 1963 [2nd edn: 1965; rev. 1974, reprinted with corrections 1975, 1977, rev. 1989, R1990]).

Dreyfus, Laurence, ‘Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century’, The Musical Quarterly, 69/3 (1983), 297-322,

Dreyfus, Laurence, ‘Beyond the Interpretation of Music’, Dutch Journal of Music Theory, 12/3 (2007), 253-272.

Druce, Duncan, ‘Reviews: Bach 3 Sonatas and 3 Partitas BWV1001-1006, Christian Tetzlaff vn, Hänssler Classic CD98 250 (130 minutes DDD)’, Gramophone, 85/1021 (August 2007), 71.

Druce, Duncan, ‘Reviews: Bach 3 Sonatas and 3 Partitas, BWV1001-1006, Sigiswald Kuijken vn, Deutsche Harmonia Mundi 05472 775 27-2 (135 minutes DDD)’, Gramophone, 79/947 (2001), 93.

Druce, Duncan, ‘Reviews: Bach 3 Sonatas and 3 Partitas BWV1001-1006, Richard Tognetti vn, ABC Classics CD ABC 4768051 (145 minutes: DDD)’, Gramophone, 84/1010 (October 2006), 80.

Druce, Duncan, ‘Sergey Khachatryan – An Engaging and Persuasively Virtuosic Debut from a Young Violinist to Note’, EMI Debut 575684-2 (71 minutes DDD), Gramophone, 80/962 (January 2003), 56.

Duarte, John, ‘Reviews: Bach Partitas – No. 1 in B Minor, BWV 1002; No. 2 in D minor, BWV 1004; No. 3 in E, BWV 1006, Viktoria Mullova vn, Philips 434 075-2 PH (77 minutes DDD)’, Gramophone, 72/853 (June 1994), 80.

Dulak, Michelle, ‘The Quiet Metamorphosis of “Early Music”’, Repercussions, 2/2 (1993), 31-61.

Eales, Adrian, ‘The Fundamentals of Violin Playing and Teaching’, in The Cambridge Companion to the Violin, ed. by Robin Stowell (Cambridge: Cambridge University Press, 1992), pp. 92-121,

Efrati, Richard, Treatise on the Execution and Interpretation of the Sonatas and Partitas for Solo Violin and the Suites for Cello by Johann Sebastian Bach (Zürich: Atlantis Verlag, 1979).

Eichler, Jeremy, ‘String Theorist: Christian Tetzlaff Rethinks How a Violin Should Sound’, The New Yorker (27 August 2012), 34-39.

Eisler, Edith, ‘Christian Tetzlaff from Bach to Bartók’, Strings (February-March 1999), 50-56.

Elste, Martin, Meilensteine der Bach-Interpretation 1750-2000: Eine Werkgeschichte im Wandel (Stuttgart and Weimar: Metzler; Kassel: Bärenreiter, 2000).

Erlmann, Veit, Reason and Resonance: A History of Modern Aurality (New York: Zone Books, 2010).

Fabian, Dorottya, Bach Performance Practice, 1945-1975: A Comprehensive Review of Sound Recordings and Literature (Aldershot: Ashgate, 2003).

Fabian, Dorottya, ‘Towards a Performance History of Bach’s Sonatas and Partitas for Solo Violin: Preliminary Investigations’, in Essays in Honor of László Somfai, ed. by László Vikárius and Vera Lampert (Lanham, MD: Scarecrow Press, 2005), pp. 87-108.

Fabian, Dorottya, ‘The Recordings of Joachim, Ysaÿe and Sarasate in Light of their Reception by Nineteenth-Century British Critics’, International Review of the Aesthetics and Sociology of Music, 37/2 (2006), 189-211.

Fabian, Dorottya, ‘Is Diversity in Performance Truly in Decline? The Evidence of Sound Recordings’, Context, 31 (2006), 165-180.

Fabian, Dorottya ‘Classical Sound Recordings and Live Performances: Artistic and Analytical Perspectives’, in Recorded Music: Philosophical and Critical Reflections, ed. by Mine Doğantan-Dack (London: Middlesex University Press, 2008), pp. 232-260.

Fabian, Dorottya, ‘Ornamentation in Recent Recordings of J. S. Bach’s Solo Sonatas and Partitas for Violin’, Min-Ad: Israel Studies in Musicology Online, 11/2 (2013), 1-21,

Fabian, Dorottya, ‘Commercial Sound Recordings and Trends in Expressive Music Performance: Why Should Experimental Researchers Pay Attention?’, in Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures, ed. by Dorottya Fabian, Renee Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), pp. 58-79,

Fabian, Dorottya, and Eitan Ornoy, ‘Identity in Violin Playing on Records: Interpretation Profiles in Recordings of Solo Bach by Early Twentieth-Century Violinists’, Performance Practice Review, 14 (2009), 1-40,

Fabian, Dorottya, and Emery Schubert, ‘Musical Character and the Performance and Perception of Dotting, Articulation and Tempo in Recordings of Variation 7 of J. S. Bach’s Goldberg Variations (BWV 988)’, Musicae Scientiae, 12/2 (2008), 177-203,

Fabian, Dorottya, and Emery Schubert, ‘Baroque Expressiveness and Stylishness in Three Recordings of the D minor Sarabanda for Solo Violin (BWV 1004) by J. S. Bach’, Music Performance Research, 3 (2009), 36-55,

Fabian, Dorottya, and Emery Schubert, ‘A New Perspective on the Performance of Dotted Rhythms’, Early Music, 38/4 (2010, November), 585-588,

Fabian, Dorottya, Emery Schubert, and Richard Pulley, ‘A Baroque Träumerei: The Performance and Perception of a Violin Rendition’, Musicology Australia, 32/1 (2010), 25-42,

Farach-Colton, Andrew, ‘Perlman’, The Strad, 116/1387 (November 2005), 44-51.

Flesch, Carl, The Art of Violin Playing: I. Technique in General, English text by Frederick H. Martens (New York: Carl Fischer, 2000).

Flesch, Carl, The Memoirs of Carl Flesch, Eng. trans. by Hans Keller (Bois de Boulogne: Centenary Edition, 1973).

Flynn, James, ‘Why our IQ Levels are Higher than our Grandparents?’,

Friberg, Anders, and Andreas Sundström, ‘Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern’, Music Perception, 19/3 (2002), 333-349,

Friberg, Anders, and Erica Bisesi, ‘Using Computational Models of Music Performance to Model Stylistic Variations’, in Expressiveness in Music Performance: Empirical Approaches across Styles and Cultures ed. by Dorottya Fabian, Renee Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), pp. 240-259,

Gabrielsson, Alf, ‘The Performance of Music’, in The Psychology of Music (2nd edn), ed. by Diana Deutsch (San Diego: Academic Press, 1999), pp. 501-602,

Gabrielsson, Alf, ‘Music Performance Research at the Millennium’, Psychology of Music, 31 (2003), 221-272,

Gabrielsson, Alf, and Erik Lindström, ‘The Role of Structure in the Musical Expression of Emotions’, in Handbook of Music and Emotions: Theory, Research, Applications, ed. by Patrik Juslin and John Sloboda (Oxford: Oxford University Press, 2010), pp. 367-400,

Galamian, Ivan, Principles of Violin Playing and Teaching, 3rd edn with postscript by Elizabeth A. H. Green (Englewood-Cliff: Prentice Hall, 1985 [1962]).

Gelfand, Stanley, Hearing: An Introduction to Psychological and Physiological Acoustics, 2nd edn (New York & Basel: Marcel Dekker, 1990).

Gibson, James, The Senses Considered as Perceptual Systems (London: Unwin Bros, 1966).

Gibson, James, The Ecological Approach to Visual Perception (New Jersey: Lawrence Erlbaum, 1979).

Gilman, Benjamin Ives, ‘Report on an Experimental Test of Musical Expressiveness’, The American Journal of Psychology, 4/4 (1892), 558-576,

Glass, Herbert, ‘A reasoning Romantic — Profile: Christian Tetzlaff’, The Strad, 106/1259 (March 1995), 260-265.

Godlovitch, Stan, Musical Performance: A Philosophical Study (London: Routledge, 1998).

Godøy, Rolf Inge, ‘Gestural Affordances of Musical Sound’, in Musical Gestures: Sound, Movement, and Meaning, ed. by Rolf Inge Godøy and Marc Lehman (New York and London: Routledge, 2010), pp. 103-125.

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Goehr, Lydia, ‘The Perfect Performance of Music and the Perfect Musical Performance’, New Formations, 27 (1996), 1-22.

Goehr, Lydia, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, rev. ed. (New York: Oxford University Press, 2007 [1994]).

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Gritten, Anthony, and Elaine King, eds., Music and Gesture (Farnham: Ashgate, 2006).

Gritten, Anthony, and Elaine King, eds., New Perspectives on Music and Gesture (Farnham: Ashgate, 2011).

Gritten, Anthony, ‘The Subject (of) Listening’, Journal of the British Society for Phenomenology, 45/3 (2015), 203-219,

Hamilton, Kenneth, After the Golden Age: Romantic Pianism and Modern Performance (New York: Oxford University Press, 2008),

Hanslick, Eduard, On the Musically Beautiful, Engl. trans. by Geoffrey Payzant (Indianapolis: Hackett Publishing, 1986) [German original: Vom Musikalisch-Schönen (Leipzig: R. Weigel, 1854 [8th edn 1891])].

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Harnoncourt, Nikolaus, Baroque Music Today: Music as Speech (Portland, Oregon: Amadeus Press, 1988). Engl. trans. by Mary O’Neill of German original: Musik als Klangrede (Salzburg: Residenz, 1982).

Haskell, Harry, The Early Music Revival: A History (London: Hudson, 1988).

Hasty, Christopher, ‘The Image of Thought and Ideas of Music’, in Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (Farnham: Ashgate, 2010), pp. 1-22.

Haynes, Bruce, The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century (New York: Oxford University Press, 2007),

Hefling, Stephen, Rhythmic Alteration in Seventeenth-and Eighteenth-Century Music (New York: Schirmer, 1993).

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Hulse, Brian, and Nick Nesbitt, eds., Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music (Farnham: Ashgate, 2010).

Huron, David, Sweet Anticipation: Music and the Psychology of Expectation (Cambridge, MA: MIT Press, 2007).

Huron, David, ‘A Comparison of Average Pitch Height and Interval Size in Majorand Minor-Key Themes: Evidence Consistent with Affect-Related Pitch Prosody’, Empirical Musicology Review, 3 (2008), 59-63,

Huron, David, ‘Why is Sad Music Pleasurable? A Possible Role for Prolactin’, Musicae Scientiae, 15 (2011), 146-58,

Husserl, Edmund, The Idea of Phenomenology, Engl. trans. by W. Alston and G. Nakhnikian (The Hague: Martinus Hijhoff, 1964).

Jacobson, Bernard, ‘CD Review: Bach: Sonatas and Partitas for Solo Violin – Monica Huggett (vn) (period instrument), VIRGIN 7243 5 45205 2 5 (152:33)’, Fanfare, 22/1 (September 1998), 116-117.

Jameson, Fredric, ‘Postmodernism and Consumer Society’, in The Cultural Turn: Selected Writings on the Postmodern, 1983-1998 (London: Verso, 2009 [1998]), pp. 1-20.

Jameson, Fredric, ‘“End of Art” or “End of History”?’, in The Cultural Turn: Selected Writings on the Postmodern, 1983-1998 (London: Verso, 2009 [1998]), pp. 73-92.

Jameson, Fredric, A Singular Modernity (London and New York: Verso, 2012 [2002])

Jeal, Eric, ‘Viktoria Mullova: From Russia in a Blond Wig’, interview, The Guardian, 17 August 2011,

Johnson, Lawrence A., ‘An Interview with Rachel Barton’, Fanfare, 21/1 (September/October 1997), 81-84.

Josipovici, Gabriel, What Ever Happened to Modernism? (New Haven: Yale University Press, 2010).

Juslin, Patrik N., ‘Emotional Communication in Music Performance: A Functionalist Perspective and Some Data’, Music Perception, 14/4 (1997), 383-418,

Juslin, Patrik N., ‘From Everyday Emotions to Aesthetic Emotions: Towards a Unified Theory of Musical Emotions’, Physics of Life Reviews, 10 (2013), 235-266.

Juslin, Patrik N., and John Sloboda, eds., Handbook of Music and Emotions: Theory, Research, Applications (Oxford: Oxford University Press, 2010).

Kane, Brian, ‘Excavating Lewin’s “Phenomenology”’, Music Theory Spectrum, 33 (2011), 27-36,

Katz, Mark, ‘Beethoven in the Age of Mechanical Reproduction: The Violin Concerto on Record’, Beethoven Forum, 10 (2003), 38-54.

Katz, Mark, Capturing Sound: How Technology has Changed Music (Berkeley and Los Angeles: University of California Press, 2004).

Katz, Mark, ‘Portamento and the Phonograph Effect’, Journal of Musicological Research, 25 (2006), 211-232,

Keller, Peter, ‘Ensemble Performance: Interpersonal Alignment of Musical Expression’, in Expressiveness in Music Performance: Empirical Investigations across Styles and Cultures, ed. by Dorottya Fabian, Renee Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), pp. 260-282,

Kemp, Lindsay, ‘Going Solo ― Monica Huggett on Playing Solo Bach’, Gramophone, 75/897 (January 1998), 16.

Kenyon, Nicholas, ed., Authenticity and Early Music (Oxford: Oxford University Press, 1988).

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Kirnberger, Johann, Die Kunst des reinen Satzes in der Musik [The Art of Strict Composition in Music] (Berlin and Königsberg: G. J. Decker and G. L. Hartung, 1774).

Kivy, Peter, Sound Sentiment: An Essay on the Musical Emotions, Including the Complete Text of The Corded Shell (Philadelphia: Temple University Press, 1989).

Kjemptrup, Inge, ‘Ilya Gringolts: The Man, the Myth, the Musician on the Move’, WEB interview posted February 2011,

Kleinerman, Shulamit, ‘A Mix of Images: Women in Baroque Music’, Early Music America, 10/4 (Winter 2004), 28-34.

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Kurzbauer, Heather, ‘Reviews CDS: Bach Sonatas and Partitas for Solo Violin BWV1001-1006, Sigiswald Kuijken (violin) Deutsche Harmonia Mundi 05472 775 272’, The Strad, 113/1341 (January 2002), 81.

Latour, Bruno, Pandora’s Hope: Essays on the Reality of Science Studies (Cambridge, MA: Harvard University Press, 1999).

Lawson, Colin, and Robin Stowell, Historical Performance: An Introduction (Cambridge: Cambridge University Press, 1999),

Ledbetter, David, Unaccompanied Bach: Performing the Solo Works (New Haven: Yale University Press, 2009).

Lee, Heejung, ‘Violin Portamento: An Analysis of its Use by Master Violinists in Selected Nineteenth-Century Concerti’ (Doctor of Education Thesis, Columbia University, 2006).

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Leech-Wilkinson, Daniel, ‘Recordings and Histories of Performance Style’, in The Cambridge Companion to Recorded Music, ed. by Nicholas Cook, Eric F. Clarke, Daniel Leech-Wilkinson, and John Rink (Cambridge: Cambridge University Press, 2009), pp. 246-262,

Leech-Wilkinson, Daniel, ‘Compositions, Scores, Performances, Meanings’, Music Theory Online, 18/1 (2012), 1-17,

Leech-Wilkinson, Daniel, ‘The Emotional Power of Musical Performance’, in The Emotional Power of Music: Multidisciplinary Perspectives on Musical Arousal, Expression, and Social Control, ed. by Tom Cochrane, Bernardino Fantini, and Klaus R. Scherer (Oxford: Oxford University Press, 2013), pp. 41-54,

Leech-Wilkinson, Daniel, and Helen Prior, ‘Heuristics of Expressive Performance’, in Expressiveness in Music Performance: Empirical Investigations across Styles and Cultures, ed. by Dorottya Fabian, Renee Timmers, and Emery Schubert (Oxford: Oxford University Press, 2014), pp. 34-57,

Le Huray, Peter, and James Day, eds., Music and Aesthetics in the Eighteenth and Early Nineteenth Centuries (Cambridge: Cambridge University Press, 1981).

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Lester, Joel, Bach’s Works for Solo Violin: Style, Structure, Performance (Oxford-New York: Oxford University Press, 1999),

Levitin, Daniel, This is Your Brain on Music: Understanding a Human Obsession (London: Atlantic Books, 2006).

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