| Music examples |
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ix | |
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xi | |
| Foreword: Professor Geoffrey Lancaster AM |
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xiii | |
| Acknowledgements |
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xv | |
| Introduction: the quest for nineteenth-century historical performance |
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1 | (8) |
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PART A Cultural and musical meaning |
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9 | (90) |
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1 HIP hype or a `yawning chasm'? |
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11 | (19) |
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1.1 Critiques of historically informed performance |
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11 | (5) |
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16 | (1) |
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1.3 A surprising resistance |
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17 | (1) |
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18 | (2) |
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1.5 Confirming Brown: a brief analysis of claimed HIP recordings |
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20 | (4) |
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1.6 A way forward: cultural exegesis in Romanticist performance study |
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24 | (2) |
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26 | (4) |
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2 Ghosts in the machine: cultural exegeses of Modernism and Romanticism |
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30 | (50) |
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2.1 Analysing culture and worldview |
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30 | (3) |
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2.2 The roots and character of Modernism |
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33 | (4) |
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37 | (2) |
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2.4 Modernism embodied: the visual arts |
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39 | (4) |
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2.5 The roots and character of Romanticism |
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43 | (6) |
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2.6 Romanticist thought and philosophy |
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49 | (10) |
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2.7 Romanticism embodied: literature |
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59 | (8) |
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2.8 Defining and describing Romanticism: a summary |
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67 | (4) |
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2.9 Geist in the machine: Romanticism, Modernism, and the future |
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71 | (9) |
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3 Letter and spirit: culture and performance practice |
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80 | (19) |
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3.1 Introduction to the three styles |
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80 | (1) |
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80 | (2) |
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3.3 Modernist performance practice characteristics |
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82 | (3) |
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3.4 Period-historicist style |
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85 | (1) |
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3.5 Period-historicist performance practice characteristics |
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86 | (2) |
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88 | (3) |
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3.7 Romanticist performance practice characteristics |
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91 | (2) |
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3.8 Integrating Romanticist characteristics |
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93 | (2) |
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95 | (4) |
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PART B Reconstructing Romanticist performance style |
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99 | (107) |
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4 Enigma: deciphering the past |
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101 | (41) |
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4.1 Introduction: modes of knowing |
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101 | (1) |
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4.2 Written evidence 1: linguistic problems |
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101 | (3) |
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4.3 Written evidence 2: the ambiguity of scores |
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104 | (16) |
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4.4 CI9th Mileu 1: orchestral practice |
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120 | (12) |
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4.5 C19th Mileu 2: performance spaces and Romanticist listening |
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132 | (5) |
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137 | (5) |
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142 | (42) |
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5.1 Earliest audio recordings |
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142 | (1) |
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5.2 The three technologies |
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143 | (4) |
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5.3 Inherent limitations of early recordings |
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147 | (5) |
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5.4 Performance style in early recordings |
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152 | (1) |
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5.5 Analysing early recordings: a non-reductionist proposal |
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153 | (8) |
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5.6 Early recording analysis: three examples |
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161 | (6) |
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5.7 Orchestral styles and recordings |
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167 | (8) |
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5.8 Strings, chamber, and vocal styles and recordings |
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175 | (4) |
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179 | (5) |
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6 Too much is only just enough: pianistic Romanticism |
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184 | (22) |
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6.1 Embracing Romanticist pianoforte style |
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184 | (2) |
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6.2 Quintessential Romanticism: sources for Liszt ian pianism |
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186 | (4) |
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6.3 The heart of Liszt's performance style |
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190 | (6) |
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6.4 The heart of Chopin's performance style |
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196 | (4) |
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6.5 Which piano? CI 9th pianoforte designs |
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200 | (6) |
| Concluding remarks - an unfinished journey |
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206 | (9) |
| Select bibliography |
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215 | (30) |
| Index |
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245 | |