Musical performance essays

Chance The Rapper & The Modern Music Economy

What many listeners might not fully consider is that the experience is almost totally in the hands of the performer, someone tasked with somehow summoning the ethereal without losing the audience in the process. Mozart comes to mind.

His comic operas teem with a cleverness matched only by their humanity. So Mozart was funny, sure, but what about Beethoven and Haydn? Yes, them too.

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The character that emerges is one of compulsive, but scatterbrained, determination. The piece seems unable to go anywhere except where it should not. By Nicholas Cook. Edition 1st Edition.

Music is not for ears

First Published Imprint Routledge. Pages pages.

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Subjects Arts. This is a much more complex and difficult question than it may seem.

Free Essay Paper on Musical Performance

Kenneth Kreitner has assembled twenty articles, published between and , by scholars exploring the performance of music from the fifteenth and…. The Library of Essays on Music Performance Practice: 4-Volume Set 1st Edition Edited by Mary Cyr The revival of interest in early instruments that began over a hundred years ago has more recently led to a desire amongst scholars, performers, and listeners to understand how old instruments sounded, how music was sung and by whom, and how musical symbols were interpreted.


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Baroque Music 1st Edition Edited by Peter Walls Research in the 20th and 21st centuries into historical performance practice has changed not just the way performers approach music of the 17th and 18th centuries but, eventually, the way audiences listen to it. Classical and Romantic Music 1st Edition Edited by David Milsom This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire.


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Medieval Music 1st Edition Edited by Honey Meconi Almost a thousand years of music are treated in this volume on the performance practice of the Middle Ages, covering monophony and polyphony, sacred and secular, genre and theory.