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A Musicology of Performance

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Dorottya Fabian

Index

Texte intégral

Adorno, Theodor W. 39, 46

aesthetics 7, 10-12, 21-24, 28-45, 48-50, 55, 58, 86, 90, 92-93, 95-96, 99, 104, 121, 127-129, 136, 146-149, 153, 155, 163, 170-172, 185, 198, 201, 226, 246, 269-271, 276-278, 281, 287-288, 296

affect 4, 9, 23, 41, 44, 51, 58, 60, 121, 137, 151-155, 194-195, 198, 201-272, 276-277, 288

A minor Sonata 76, 84, 245, 248

Allegro 222

terraced dynamics of 193

Andante 15, 20, 119, 129, 144

comparison of recordings 157-158, 228

embellishment of 84

legato in 108

melody of 226

tempo of 248

Fuga 190, 225-226, 269

tempo of 135, 219

Grave 85, 219-220, 222, 268

comparison of recordings 119, 238-241, 276

legato in 220

rhythm of 109

tempo of 219, 238

variety of interpretation of 167-168

Anders, Günther Stern 3, 72

arpeggio (arpeggiating chords) 57, 104, 118, 119, 186-193, 202, 205

articulation 12, 15, 23, 28, 43, 56, 60, 66, 70, 95-96, 120, 128, 129, 136, 163, 167, 171, 172, 184-198, 204, 206-212, 217, 219, 221-223, 234, 237, 253-254, 256, 262-263, 270, 274-277. See also figuration and phrasing

altering of 153, 160

and dotted rhythm 176-181, 198

comparison of HIP and MSP styles 99-118, 223, 250

relationship to bowing 93, 95, 101, 107, 276, 285

style

detached 192, 277

detailed 101, 197, 211, 221, 263

forceful 225, 269

legato 180, 194-197, 230, 242, 250

nuanced 21, 198, 277

refined 88

sustained 276

varied 41, 186

subjective nature of 107-109

Auer, Leopold 76, 87-91

aurality 4-5, 65-73, 286, 289, 293-294

aural analysis 22, 233, 233-238

aural communication 6, 65-73, 274

aural experience 6, 13, 25, 73, 156

aural perception 5, 30, 58, 65, 157, 163

authentistic style 38, 43, 101, 104, 207, 230, 236, 277

Bach, Johann Sebastian 7, 21, 27, 31, 33, 35, 38, 39, 61, 81, 88, 89, 96, 97-100, 106, 119, 124, 127, 136, 153, 158, 172, 181, 200, 202, 220, 224

Brandenburg Concertos 29, 33, 167, 173

Goldberg Variations 218, 231

Mass in B minor 29, 37, 218

notation practices 148-153, 166, 169, 171, 181, 186, 189

Passions 29, 32, 37, 173

Six Sonatas and Partitas for Solo Violin 2, 10, 11, 13, 15, 18-21, 22, 31, 38, 72, 73-74, 93, 95, 100, 103, 105, 122-126, 127-200, 201-272, 273-282. See G

minor Sonata; B minor Partita; A

minor Sonata; D minor Partita; C

Major Sonata; E Major Sonata

baroque bow. See bowing

Bartók, Béla 84, 278

Barton Pine, Rachel 18-20, 46, 57, 79, 83, 85, 95, 104-105, 108, 121, 123, 143, 144, 145, 151, 162, 186, 190, 192, 204-205, 212, 218, 221-223, 230, 234, 257-263, 277, 279

Baudelaire, Charles 32

Beethoven, Ludwig van 7, 26, 35, 49, 53, 72, 145, 199, 232, 278, 284

Berlioz, Hector 199

Beznosiuk, Pavlo 104, 116, 117, 135, 137, 154, 155, 162, 185-186, 194

Birnbaum, Johann Abraham 148-149

B minor Partita 83, 84, 219, 231-232

Allemanda 228

dotted rhythm of 118, 173-180

Corrente 247

Sarabande 191

Double 118, 135

embellishment of 15, 84, 156-161, 170, 277

rhythm of 181-183

Tempo di Borea 118, 248

comparison of recordings 232

bodily experience 1, 3-7, 25, 58, 64-69, 137, 153, 246, 271, 274, 284, 296.

See also aurality; cognition; and kinaesthesia

bowing 10-11, 12, 20-21, 23, 56, 57, 88-90, 92, 93, 95, 99-104, 107-120, 128, 140, 144-146, 155, 163-167, 171, 173, 180, 184-198, 202, 203-208, 213-217, 222-223, 230-232, 234-241, 244, 248-250, 257-268, 270, 276-277, 285

“Bach-bow” 21, 144

Baroque bow 18, 21, 56, 83, 84, 85, 95, 104, 105, 110, 117, 124, 184, 185, 190, 232, 279. See also period instruments

“bow vibrato” 163-167

grip 88-90

style

inflected 105, 117, 238

legato 10, 105, 108, 118, 176, 180, 192-193, 194-197, 203-206, 212, 213, 220, 229, 238, 249

lifted 77, 104, 119, 140, 184, 192, 203, 235, 248, 250, 262, 275

nuanced 235, 250

seamless 21, 56, 145, 184

sustained 108, 119, 178, 206, 226, 230, 245, 281

varied 41, 57, 84, 88, 101, 107, 117, 145, 186, 205, 231, 236, 240, 241, 249, 263

weighted 58, 101, 119, 194, 206, 250, 276

Brahms, Johannes 72, 145, 199, 278

brain function 22, 24, 65, 69, 153, 288-296. See also cognition and music psychology

Brendel, Alfred 74

Brodsky, Adolph 87

Brodsky, Jascha 86, 90, 97

Burney, Charles 41

Buswell, James 79, 83, 85, 91, 100, 108, 116, 117, 140, 151, 184, 190, 194

Butt, John 12, 30, 32, 38, 95, 107, 148, 282

Capet, Lucien 90, 91

Casals, Pablo 8

Chopin, Frédéric 218, 278

Cilliers, Paul 52, 57, 60-61, 274, 275

C Major Sonata 84, 118-119, 248

Adagio 118-119

dotted rhythm of 118, 173-181

Allegro 135, 230

Largo 108, 119

legato in 108, 195

cognition 3, 5-6, 25, 42, 66, 69, 271, 274. See also brain function and music psychology

complex systems 2, 14, 17, 22, 25, 52, 56-61, 74, 270, 279-280, 273-287, 291-294

Cook, Nicholas 2, 7, 42, 50-52, 177, 193, 200, 273, 280, 285

Costello, Elvis 1

Czerny, Carl 26, 53, 65

DeLay, Dorothy 77, 82, 90-93, 97, 105

Deleuze, Gilles 22, 25, 52-56, 61, 123, 201, 247, 268, 283, 286-288, 294

Descartes, René 31

D minor Partita 76, 84, 85, 233

Allemanda 118, 131, 223, 230

Ciaccona

notation of 189

Corrente 118, 247

dotted rhythm of 173-180, 183

Giga 118, 131, 193, 231, 247, 268, 270

aural analysis of 234-238

HIP characteristics of 106

Sarabanda 144, 162, 223, 230, 248

embellishment of 81, 154, 230

Doğantan-Dack, Mine 66, 68

Dolmetsch, Carl 27, 104

Donington, Robert 37

dynamics 5, 41, 66, 100-101, 108-109, 116-120, 129, 137-140, 167, 171, 191-198, 217, 219-225, 248-250, 257-268, 270, 274, 276-278

comparison of recordings 233-240

complex dynamical systems. See complex systems

fluctuation of 204, 211, 228, 248-249, 258, 262

in Gavotte en Rondeau 207-211

shifting of 140, 153, 172, 183, 189, 205

style

arched 203

consistent 230, 245, 257, 263, 267

emotionalized 101, 108

exaggerated 116

expressive 117

extreme 123, 226, 269

HIP-style 117, 193-197

long-range 105, 119

MSP-style 117, 119, 204

multiple stops 191-193

terraced dynamics 21, 193, 214, 234-238, 258, 262

early music movement 12, 27, 36, 77, 80, 93-95, 102, 170, 279-282

Ehnes, James 18, 79, 86, 96-97, 100, 105, 108, 144, 151, 184, 190, 192, 193, 194, 200, 204, 254, 257, 280

Elman, Mischa 87-90

E Major Partita 84, 118-119, 129, 153-155, 179-183, 202-216, 217, 233, 254-268

Bourree 248

Gavotte en Rondeau 118, 247, 254, 270

comparison of HIP and MSP versions 207-211

embellishment of 15, 81, 281

HIP characteristics of 106

tempo of 252

Gigue 118, 222

HIP characteristics of 106

Loure 119, 144, 226, 248, 270

comparison of HIP and MSP versions 202-207

dotted rhythm of 179

embellishment of 154, 156, 281

Menuets 119, 123, 161, 183, 219, 222, 248, 269, 270

comparison of HIP and MSP versions 211-217

dotted rhythm of 181

embellishment of 281

Preludio 108, 118, 270, 277

comparison of recordings 254-268

MPS characteristics of 106

tempo of 131, 136, 251, 254-268, 277

terraced dynamics of 193

reworking for lute 152

embellishment 15, 41, 81, 84, 95, 103, 104, 117-118, 121, 124, 146-163, 169-172, 198, 199, 206, 253, 276, 277, 281. See also ornamentation

emotion 32, 44, 63, 127, 136-140, 152, 194, 241-247, 250-251, 271, 274, 287, 292, 289-293

emotional expression 101, 108, 137, 241-247, 274

emotional memory 65

Erlmann, Veit 68, 290, 293

Faust, Isabelle 18, 79, 83-84, 95, 104-106, 121, 123, 124, 145, 154-155, 161-162, 169, 171, 183, 190, 193, 199, 206-207, 257-258, 279

figuration 70, 152, 153, 195, 210, 212, 254-268. See also articulation

Fischer, Julia 18, 77, 78, 85, 96-98, 100, 105, 108, 116, 118, 140, 151, 180, 184, 190, 194, 204, 284

Gähler, Rudolf 18, 21, 100, 135, 144, 186, 190, 212

Galamian, Ivan 80, 82, 83, 89-93, 97, 103, 105

Gibson, James 6

Gigli, Beniamino 8

G minor Sonata 84, 85, 100, 223, 225-227, 233, 245, 247

Adagio 85, 109, 119, 129, 238-247, 248, 253, 268, 276

embellishment of 150-151, 153

expressiveness of 226, 242

notation of 150-151

opening chord 190

Fuga 129, 193

comparison of recordings 185-189

nuance in 123

Presto 150-151, 223, 230

Siciliana 230

Godøy, Rolf 5

Gringolts, Ilya 18, 77-78, 95, 100, 104, 121, 123-126, 135, 144, 154-160, 163, 171-172, 190, 206, 208, 211-217, 248, 251, 257, 277, 279

Gritten, Anthony 68

Guattari, Felix 55-57, 123, 201, 247, 287-288

Hahn, Hilary 18, 79, 86, 90, 96, 97-98, 100, 105, 108, 145, 184, 195, 198, 200, 204, 212, 254, 280, 283

Hanslick, Eduard 40

harmony 21, 23, 44, 67-68, 95, 99, 106-108, 118, 123, 140, 144, 149, 155-158, 171, 173, 181-184, 189, 192, 195, 203, 210, 214, 216, 222, 225-226, 235-237, 246, 248, 252-254, 256, 263, 276, 290

harmonic goals 123, 240

harmonic-metric groups 108, 183, 184

Harnoncourt, Nikolaus 20, 27, 29, 82, 94, 105, 199, 227, 269

Haskell, Harry 12

Haynes, Bruce 12, 30

Heifetz, Jascha 8, 46, 87, 88, 97, 175, 255

Hellaby, Julian 44-48

historically informed performance (HIP) 43-44, 52, 53, 55, 57, 77-87, 130-137, 154, 161-162, 166

and modernism 27-31, 43

blended with MSP 75, 83, 250

compared to MSP 15, 18, 20-22, 52, 61, 95-126, 127-200, 268-270, 275

bowing 184-190

dotting 173-181

multiple stops 190-193

phrasing and dynamics 193-197

tempo choice 130-137

vibrato 137-146

differences within 201-247

evolution of 33-41, 57, 72, 73, 277-284

influence on MPS 94-126

origins of 12-13

Hogwood, Christopher 33, 94, 169

holistic experience 22-24, 59, 68, 92, 140, 153, 176, 201-272, 275-277, 287, 289-296

Holloway, John 104, 108, 160, 181, 182, 186-188, 190, 192, 257-263, 277

Huggett, Monica 15, 79, 80-82, 104, 121, 123, 135, 140, 151, 154, 162, 166, 186, 190, 192, 195, 206-216, 229, 247, 251-269, 270

Husserl, Edmund 3, 5, 290

Ibragimova, Alina 18, 21, 77, 79, 95, 104, 131, 151, 166, 190-192, 197, 199, 204, 254, 279

imagination 1, 7, 16, 44, 49, 54, 66, 85, 107, 169, 223

improvisation 35, 46, 97, 121, 146-152, 170, 239, 246, 255, 280, 288, 293, 295

improvisatory freedom 119, 121, 171, 240-241, 246, 276

improvisatory style 85, 117-119, 152, 163, 169-170, 173, 226, 241, 249, 253-254

Jameson, Fredric 33-41, 282

Juslin, Patrik 63, 287

Karajan, Herbert von 74, 82

Katz, Mark 10

Khachatryan, Sergey 18, 77-79, 96-99, 100, 108, 116, 118, 151, 180, 184, 192, 194, 199, 284

kinaesthesia 3, 64, 65, 137. See also aurality; bodily experience and cognition

Koopman, Ton 80

Kreisler, Fritz 8, 46, 76, 97

Kremer, Gidon 20, 79, 82, 96, 100, 108, 117, 135, 143, 177, 186-189, 190, 193, 204, 212, 214, 218-222, 234, 237, 244, 249, 254, 255, 262-263, 267, 269, 277, 278

Kreutzer, Rudolphe 65

Kuijken, Sigiswald 18, 20, 79, 80, 81, 101-104, 108, 116, 143, 155, 190, 206, 212, 217-218, 229-230, 234, 246, 254-257, 264-267, 276, 277

Kuijken, Wieland 81

Landowska, Wanda 27, 104

Latour, Bruno 62-65, 73, 270, 287, 288, 294, 295

Leech-Wilkinson, Daniel 200, 242, 268

legato. See articulation and bowing

Lennon, John 4

Leonhardt, Gustav 27, 29, 43, 49, 77, 80, 81, 93, 104, 218, 230

Lev, Lara 79, 82, 104, 116-117, 144, 184, 204, 205, 208, 210-212, 254

Lewin, David 3

Luca, Sergiu 18, 73, 80, 103-104, 121, 154-158, 171, 175, 181, 182, 186-187, 189, 193, 206, 212, 229, 256

Lyotard, Jean-François 34

Mahler, Gustav 35, 199, 284

mainstream performance (MSP) 13, 53, 55, 56, 73, 86, 201-247

compared to HIP. See historically informed performance (HIP) origins 25-26

Matthews, Ingrid 83, 86-87, 104, 181, 183, 187-189, 190, 192, 256, 263-267, 277

McGilchrist, Ian 24, 71, 288-296

McLaughlin, John 81

melody 11, 14, 21, 32, 44, 100, 106, 121, 140, 144, 147-151, 154-158, 169, 171, 179-182, 185, 190, 192-193, 195-197, 203-204, 214, 225-226, 240-242, 251-253, 263, 276

melodic embellishment 149, 153, 163, 170-171

memory 1, 3, 7, 16, 65-67, 69, 72, 274, 293

Mendelssohn, Felix 199

Merleau-Ponty, Maurice 3, 5, 290

Milstein, Nathan 46, 77, 83, 87-88, 97, 156, 229

modernism 14, 31-42, 52, 59, 62

Mozart, Leopold 107

Mozart, Wolfgang Amadeus 12, 49, 80, 83, 89, 199, 220

MSP. See mainstream performance

Mullova, Viktoria 20, 79, 83, 95, 99-100, 103-104, 108, 116, 117, 121, 123, 124, 140-141, 145, 151, 154-158, 163, 169, 171, 178, 181-182, 184, 186, 190-193, 207, 219, 223, 230-233, 236-238, 269, 277, 279, 283

music psychology 4-6, 25-26, 42, 47-49, 64-66, 96, 128, 242-247, 274, 289. See also brain function and cognition

Neumann, Frederick 37, 148, 152, 166, 173, 189

notes inégales. See rhythm

Ong, Walter J. 67-70

oral cultures 24, 61, 65-73, 290, 294

ornamentation 12, 15, 23, 30, 35, 43, 50, 56, 70, 85, 95, 100, 104, 107, 116-118, 122-125, 128, 143, 146-172, 173, 182-183, 189, 193, 198, 199, 202-207, 217, 220-221, 222, 230-231, 241, 248, 251, 252, 275, 277, 281, 286. See also embellishment

and improvisation 169-170

importance of 120-121

Ornoy, Eitan 20, 75, 124, 268, 279

Paderewsky, Ignacy Jan 8, 14

period instruments 12, 21, 27, 37, 39, 43, 56, 73, 79, 80, 82, 84-85, 93-95, 98-99, 101-106, 110, 117-118, 120, 124, 154, 184, 229, 230, 251

period orchestras 80, 82, 94, 117

Perlman, Itzhak 32, 39, 77, 79, 82, 96, 100, 105, 108, 143, 184, 189, 190-192, 194, 204-205, 212, 244-246

phrasing 9, 23, 50, 60, 66, 79, 97-101, 106, 108-109, 116-118, 119-120, 140, 180, 183, 184, 193, 198, 203-205, 207, 217, 222-223, 225, 228, 230-231, 251-253, 253, 276-277, 286. See also articulation

crucial impact of 276-277

style

arched 193-194, 203, 222

“emotionalized” 108

expressive 269

flexible 23, 95, 253

HIP-style 116-117, 193-197, 222-223

legato 108, 230

long 10, 21, 95, 99, 101, 103, 106, 108, 118, 119, 194, 222, 275

melodic 95, 106, 180, 185

MSP-style 117, 203-205, 212

subjective nature of 109-110, 128

playfulness 41, 161-163, 171, 183, 281, 296

Podger, Rachel 15, 79, 83, 86, 101, 104, 108, 121, 123, 154, 161, 171, 181, 186-189, 206, 212, 229, 257-262

Poppen, Christoph 84, 95, 224

postmodernism 28-42, 52, 59, 62, 95, 282

Poulet, Gérard 18, 77, 96, 100, 108, 144, 184, 195, 204, 257

psychology. See music psychology

rhythm 10, 15, 21, 41, 44, 54, 61, 66, 79, 95, 100, 101, 106-109, 116-120, 150, 153-158, 163, 171-184, 192, 198, 202-203, 206, 212, 222, 225, 240, 244, 249, 252, 276

dotted rhythm 23, 37, 43, 107, 118, 128, 129, 158, 173-180, 192, 202

notes inégales 173, 181, 183

rhythmic flexibility 23, 30, 35, 81, 103, 107, 109, 116, 128, 173, 182-183, 253-254, 278

rhythmic projection 118, 120, 184, 250

Ricci, Ruggiero 18, 76, 100, 194

Richter, Karl 32

Richter, Sviatoslav 74

Rostal, Max 80, 83

rubato. See tempo

Scheibe, Johann Adolf 148-149

Schenker, Heinrich 1

Schmid, Benjamin 83, 95, 100-101, 104, 117, 184, 192, 257, 258, 267

Schröder, Jaap 10, 18, 76, 77, 88, 100, 101-104, 116, 136, 151, 156, 161, 185, 194, 198, 206, 212, 256, 263, 279

Shumsky, Oscar 18, 32, 76, 96, 100, 108, 144, 151, 184, 190-197, 204-205, 212, 231, 257

St John, Lara 18, 79, 83, 85, 104, 108, 140, 161-162, 183, 184, 190, 193, 254, 257-268

Stravinsky, Igor 28, 33, 35, 193, 284

Sublime, the 39-42

Taruskin, Richard 9, 12, 13, 27-40, 43, 71, 97, 124, 282

tempo 9, 15, 28, 44, 56, 57, 60, 66, 81, 84, 100, 108, 116-118, 120, 128-137, 173, 176-180, 189, 192, 194-198, 202-217, 219, 230, 231, 234-241, 244, 247-250, 252-253, 255-268, 269, 270, 276-277, 286

choice of 23, 106, 128-137, 247

flexibility of 35, 104, 128, 228, 241, 249

fluctuation of 204, 209-211, 213-217, 219, 238, 240, 248, 255-268, 277

perception of 15, 61, 131, 262, 276

rubato 30, 107, 116, 117-118, 118, 120, 209, 212, 214, 223, 241

steadiness of 9, 10, 101, 195, 263, 267

terraced dynamics. See dynamics

Tetzlaff, Christian 20, 21, 79, 83-84, 95, 104-105, 108, 116, 117, 121, 123, 135, 143, 155, 160, 184, 186-189, 194, 204-206, 212, 218, 223-229, 230, 234-238, 254, 269

timbre 11, 23, 60, 66, 82, 119-120, 172, 184-190, 192, 250, 252

timing 15, 23, 95, 107, 109, 128-129, 140, 163, 171, 172, 183, 198, 209, 212, 214-217, 256, 263, 270, 276

Tognetti, Richard 15, 21, 79, 83, 84-85, 95, 104-105, 108, 121, 123, 124, 135, 155, 160, 169, 171, 181, 182, 186, 190, 205, 212

Toscanini, Arturo 28, 74

Ughi, Ugo 18, 100

Urtext 35, 44, 53, 207

“Urtex mentality” 46, 53, 96, 172, 275

vibrato 10-11, 21, 23, 35, 85, 91, 95, 99, 100, 101, 104, 106, 108, 116-118, 119, 129, 137-146, 153, 166-167, 194, 197, 199, 204, 219, 223, 226, 229, 248-251, 269, 274, 278

Vivaldi, Antonio 35

Wallfisch, Elizabeth 79, 81, 104, 108, 151, 154, 161-163, 190, 197, 206-210, 212, 255, 257-267, 277

Wen, Eric 10

Windsor, Luke 6

Ysaÿe, Eugène 84, 87, 90

Zbikowski, Lawrence 6

Zehetmair, Thomas 21, 79, 83, 95, 104-105, 116-117, 135, 143, 184, 190-195, 195, 203-205, 205, 212, 247-251, 257-258, 268, 270

Zimbalist, Efrem 76, 87, 90