Intro -- Contents -- Acknowledgments -- 1. Dancing to Architecture? -- 1.1. Problems in Researching and Writing about Music Performance -- Problems with Historical Investigations of Music Performance -- Is HIP a Modern Invention/Aesthetic or Does it Have Historical Grounding? -- Data versus Narrative-Letting Go of Dancing or Returning to the Dance Floor? -- 1.2. Summary: Recordings, Aims and Methods -- 2. Theoretical Matters -- 2.1. Cultural Theories -- HIP and Modernism -- Modernism versus Postmodernism -- HIP as a Mirror of Cultural Change -- Aesthetics and Value Judgment: Beauty and the Sublime -- 2.2. Analytical Theories -- Music Performance Studies -- Empirical and Psychological Studies of Performance -- 2.3. Music Performance and Complex Systems -- Gilles Deleuze and Difference in Music Performance -- Music Performance as Complex Dynamical System -- 2.4. Performance Studies, Oral Cultures and Academia -- Research Roles: Performing Music or Analysing Performance? -- Oral Cultures and the Aurality of Music Performance -- Keeping Music Performance in the Aural Domain -- Academia Once More -- 2.5. Conclusion -- 3. Violinists, Violin Schools and Emerging Trends -- 3.1. Violinists -- 3.2. Violin Schools -- 3.3. The Influence of HIP on MSP -- 3.4. Diversity within Trends and Global Styles -- 3.5. Overall Findings and Individual Cases -- Trends in Particular Movements -- The Importance of Ornamentation -- 3.6. Conclusion -- 4. Analysis of Performance Features -- 4.1. Tempo Choices -- 4.2. Vibrato -- 4.3. Ornamentation -- Problems of Aesthetics and Notation Practices -- The Role of Delivery -- The Performance of Embellishments -- Diversity-Once More -- Ornamenting or Improvising? -- Summary -- 4.4. Rhythm -- Dotted Rhythms -- Rhythmic Alteration -- Rhythm and Musical Character -- 4.5. Bowing, Articulation and Phrasing -- Bowing and Timbre.

Multiple Stops -- Phrasing and Dynamics -- 4.6. Conclusions -- 5. Affect and Individual Difference: Towards a Holistic Account of Performance -- 5.1. Differences within the MSP and within the HIP Styles -- The Loure -- The Gavotte en Rondeau -- Menuet I-II -- 5.2. Multiple Recordings of Violinists -- Gidon Kremer -- Rachel Barton Pine -- Christian Tetzlaff -- Sigiswald Kuijken -- Viktoria Mullova -- 5.3. The Holistic Analysis of Interpretations -- "Subjective" Aural Analysis: The D minor Giga -- "Objective" Measures: The A minor Grave and G minor Adagio -- Perception of Affect -- 5.4. Idiosyncratic Versions and Listeners' Reactions -- Thomas Zehetmair -- Monica Huggett -- 5.5. Conclusions -- 6. Conclusions and an Epilogue: The Complexity Model of Music Performance, Deleuze and Brain Laterality -- 6.1. Summary -- 6.2. Where to from here?-Epilogue -- The Brain and its Two Worlds -- List of Audio Examples -- List of Tables -- List of Figures -- Discography of Recordings Studied -- Bach, Johann Sebastian: Sonatas and Partitas for Unaccompanied Violin -- Other Recordings Mentioned -- Bach, Johann Sebastian: Sonatas and Partitas for Solo Violin (BWV1001-1006) -- Bach, Johann Sebastian: Selected Sonatas and Partitas -- Bach, Johann Sebastian: Goldberg Variations BWV 988 -- Bach, Johann Sebastian: Various Other Works -- Beethoven, Ludwig van: Violin Sonatas -- Mozart, Wolfgang Amadeus -- Other -- References -- Index.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2022. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.