Index
p. 333-339
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

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