Musical Performance: A Guide to Understanding

doi:10.1017/CBO9780511811739

This accessible guide for students, teachers and performers at all levels unravels the complexities of musical performance and focuses on key aspects of learning, playing and responding to music. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorisation. The next section considers the 'translation' from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and 'performers on performance'.

"Overall this volume eschews theorizing, and several of the authors rely heavily on empirical studies to confirm what only anecdotal evidence has previously supported.... accessible for performers and teachers at all levels...." Choice

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Contents

Frontmatter
pp i-iv
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Contents
pp v-vi
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List of contributors
pp vii-x
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Preface
pp xi-xiv
- By John Rink, Professor of Music, Royal Holloway, University of London
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I - Conceptions and preconceptions
pp 1-2
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1 - Performing through history
pp 3-16
- By Colin Lawson, Pro Vice-Chancellor and Dean of the Faculty of Music, Media and Creative Technologies, Thames Valley University
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2 - Historical performance and the modern performer
pp 17-34
- By Peter Walls, Professor of Music, Victoria University of Wellington in New Zealand
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3 - Analysis and (or?) performance
pp 35-58
- By John Rink, Professor of Music, Royal Holloway, University of London
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4 - Understanding the psychology of performance
pp 59-72
- By Eric Clarke, Professor of Music, University of Sheffield
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II - Learning to perform
pp 73-74
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5 - On teaching performance
pp 75-88
- By Janet Ritterman, Director, Royal College of Music
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6 - Developing the ability to perform
pp 89-101
- By Jane Davidson, Reader in Music, University of Sheffield
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7 - Preparing for performance
pp 102-112
- By Stefan Reid, Teaches music, The Forest School in London
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8 - Memorising music
pp 113-126
- By Aaron Williamon, A research fellow and Head of the Centre for the Study of Music Performance, Royal College of Music
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III - Making music
pp 127-128
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9 - From score to sound
pp 129-143
- By Peter Hill, Professor of Music, University of Sheffield
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10 - Communicating with the body in performance
pp 144-152
- By Jane Davidson, Reader in Music, University of Sheffield
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11 - Ensemble performance
pp 153-167
- By Elaine Goodman, Lecturer in Music, University of Hull
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12 - The fear of performance
pp 168-182
- By Elizabeth Valentine, Reader in Psychology and Director of the Psychology of Music Research Group, Royal Holloway, University of London
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IV - Interpreting performance
pp 183-184
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13 - Listening to performance
pp 185-196
- By Eric Clarke, Professor of Music, University of Sheffield
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14 - The legacy of recordings
pp 197-212
- By Peter Johnson, Head of Postgraduate Studies and Director of Research, Birmingham Conservatoire
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15 - The criticism of musical performance
pp 213-224
- By Raymond Monelle, Composer, Pianist and Conductor
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16 - Performers on performance
pp 225-236
- By Jonathan Dunsby, Professor of Music, University of Reading
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Index
pp 237-245
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Musical Performance

A Guide to Understanding

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Contents

Frontmatter
pp i-iv

Contents
pp v-vi

List of contributors
pp vii-x

Preface
pp xi-xiv

I - Conceptions and preconceptions
pp 1-2

1 - Performing through history
pp 3-16

2 - Historical performance and the modern performer
pp 17-34

3 - Analysis and (or?) performance
pp 35-58

4 - Understanding the psychology of performance
pp 59-72

II - Learning to perform
pp 73-74

5 - On teaching performance
pp 75-88

6 - Developing the ability to perform
pp 89-101

7 - Preparing for performance
pp 102-112

8 - Memorising music
pp 113-126

III - Making music
pp 127-128

9 - From score to sound
pp 129-143

10 - Communicating with the body in performance
pp 144-152

11 - Ensemble performance
pp 153-167

12 - The fear of performance
pp 168-182

IV - Interpreting performance
pp 183-184

13 - Listening to performance
pp 185-196

14 - The legacy of recordings
pp 197-212

15 - The criticism of musical performance
pp 213-224

16 - Performers on performance
pp 225-236

Index
pp 237-245

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A Guide to Understanding

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