"The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology"--
The fifteen essays of this volume glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. The book takes in historical musicology as well as ethnomusicology and popular music, showcasing the diverse lines of evidence and approaches suitable for music history studies.
The fifteen essays of Performing History glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. This book’s chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that “tell,” “enact,” or “perform” war histories; operatic works that works that “tell,” “enact,” or “perform” power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading “between the lines” to access other voices than those provided by mainstream interpretation or traditional musicology.
| Introduction |
|
1 | (6) |
|
|
|
|
|
7 | (92) |
|
1 Some Senses Of History Among Hip Performers |
|
|
9 | (20) |
|
|
|
2 Counting To Four: The Flute Du Quatre In Charles Dieupart's Six Suites (1701) |
|
|
29 | (23) |
|
|
|
3 The French Style Of Viol Bowing And The Enfle In The Works Of Marin Marais |
|
|
52 | (20) |
|
|
|
4 Contextual History Through Rhetorical Visuality In Performing Monteverdi's Il Pianto Della Madonna |
|
|
72 | (27) |
|
|
|
PART TWO Performance as Celebration and Conservation |
|
|
99 | (38) |
|
5 Celebrating And Enhancing A Virtual Past Through Singing: The Polynesian Community On Taku |
|
|
101 | (14) |
|
|
|
6 Reimagining Traditional Ritual Music Of Sabah For Contemporary Performance As A Means Of Conservation |
|
|
115 | (22) |
|
|
|
PART THREE Performing War |
|
|
137 | (58) |
|
7 Historical Fidelity And Creative License In Two Viennese Battles Of The Nile |
|
|
139 | (21) |
|
|
|
8 Gallipoli To The Somme: A Musical Witness To History |
|
|
160 | (21) |
|
|
|
9 Britten's Primal Scream |
|
|
181 | (14) |
|
|
|
PART FOUR Staging Power and Enlightenment |
|
|
195 | (52) |
|
10 Staging Power: The Role Of Duchess Sophie Elisabeth Of Braunschweig-Luneburg (1613--76) In Wolfenbuttel Court Festivities Of The 1650S |
|
|
197 | (19) |
|
|
|
11 An Enlightened Future History On The Milan Opera Stage: Niccolo Piccinni's Il Regno Della Luna |
|
|
216 | (31) |
|
|
|
PART FIVE Performing the Body and the Senses |
|
|
247 | (52) |
|
12 "A New World Is Opened Up To View": Orchestral Gesture In Berlioz's Romeo Et Juliette |
|
|
249 | (34) |
|
|
|
13 Italian Futurism: Music And The Senses In The Modern Age |
|
|
283 | (16) |
|
|
|
PART SIX Performing the Popular |
|
|
299 | (38) |
|
14 "Saxophones Sobbed Out Jazz": New Zealand's First Jazz Recording |
|
|
301 | (19) |
|
|
|
15 "To Display Her Chief Accomplishment": Domestic Manuscript Music Collections In Colonial Australia |
|
|
320 | (17) |
|
|
| Author Biographies |
|
337 | (4) |
| Index |
|
341 | |
Nancy November is currently an Associate Professor in musicology at the University of Auckland. Combining interdisciplinarity and cultural history, her research continues to center on chamber music of the late eighteenth and nineteenth centuries, probing questions of historiography, canonization, and genre. Recent publications include Beethovens Theatrical Quartets: Opp. 59, 74, and 95 (Cambridge University Press, 2013); a three-volume set of fifteen string quartets by Emmanuel Aloys Förster (A-R Editions, 2016); and Cultivating String Quartets in Beethovens Vienna (Boydell Press, 2017). She is the recipient of a Humboldt Fellowship, and two Marsden Grants from the New Zealand Royal Society.
