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A Musicology of Performance

Dorottya Fabian


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1The publication of the book was assisted by subventions from the Australian Academy of Humanities and the School of the Arts and Media of UNSW Australia.

2This project has also been supported by an Australian Research Council Discovery Grant (DP0879616) and a UNSW Australia Faculty of Arts and Social Sciences Special Studies program in 2010, during which I took up a visiting fellowship at Clare Hall, Cambridge University which proved an ideal environment for focused work. In 2014 I received some tutoring and marking relief from the School of the Arts and Media at UNSW that contributed significantly to my ability to bring this project to a close.

3I would like to thank my research assistants Bridget Kruithof, Elizabeth Cooney, Hae-Na Lee and Amanda Harris for help with data collection and some measurements; Daniel Bangert, Jennifer Butler, Daniel Leech-Wilkinson, Eitan Ornoy, Sean Pryor, Dario Sarlo, and Emery Schubert for insightful and corrective comments on earlier drafts; Kumaran Arul for encouragement and Ellen Hooper for stimulating discussions about performance research and Deleuze; two anonymous reviewers for their valuable comments and suggestions; Rachel Barton-Pine for her generosity in providing me with recordings of her concerts; and Alessandra Tosi and Bianca Gualandi of the superb editorial team at Open Book Publishers who helped make the multi-media presentation possible. I thank Corin Throsby for preparing the index.

4Although I prepared a rough draft in 2011, due to other work commitments I could not return to it until 2014, so this book has had a long gestation and underwent substantial rethinking and re-writing. Sections, mostly on ornamentation and the interaction between period and mainstream playing styles have been presented at various academic gatherings. I wish to note my gratitude to Jane Davidson (University of Western Australia, Perth), Gary McPherson (Music, Mind and Wellbeing, University of Melbourne, Australia), Clive Brown and David Milsom (Leeds University), Ingrid Pearson (Royal College of Music, London), Jane Ginsborg (Royal Northern College of Music Manchester) for the invitations. Thanks are also due to the organizers of conferences in Aveiro (Portugal) and at the Orfeus Institute (Ghent), for the opportunity to present, and to the audiences for valuable questions and comments. An article on ornamentation in recent recordings of J. S. Bach’s Solos for Violin was published in Min-ad, the Israeli Musicological Society’s peer-reviewed journal. I thank them for kindly allowing me to re-use some of that material in chapter four of this book.

5I would also like to record the generosity of John Butt, Janice Stockigt, Samantha Owens, and Neal Peres da Costa who wrote supporting letters to the Australian Academy of Humanities when I applied to them for a publications subvention. Thank you!

6I am grateful to Katalin Komlós for noting some additional misprints and notation errors in one of the score examples and thank Open Book Publishers, especially Bianca Gualandi, for their prompt action in correcting them for edition 1.2 (June 2016).


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