Abstract
This chapter examines ways in which nineteenth-century musicians practiced expressivity. These methods differ strikingly from current, 'manistream' notions of what it is to play tastefully, and expressively, including notable distinctions compared to recent times in respect of tempo rubato, sychronicity of melody and accompaniment, as well as applications of vocal-derived devices such as portamento, and vibrato. The central tenet of the chapter is to summarise, with examples, how nineteenth-century expressivity differs from more recent, received notions, proposing that studies of expressivity need to be responsive to different chronological and cultural contexts.
Original language | English |
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Title of host publication | Expressiveness in Music Performance |
Subtitle of host publication | Empirical Approaches Across Styles and Cultures |
Editors | Dorottya Fabian, Renee Timmers, Emery Schubert |
Place of Publication | Oxford |
Publisher | Oxford University Press |
Pages | 80-97 |
Number of pages | 18 |
ISBN (Electronic) | 9780191634550 |
ISBN (Print) | 9780199659647 |
Publication status | Published - 2014 |
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Dive into the research topics of 'Expressiveness in historical perspective: Nineteenth-century ideals and practices'. Together they form a unique fingerprint.Profiles
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David Milsom
- Department of Music & Design Arts - Senior Lecturer in Music
- School of Arts and Humanities
- Centre for Experimental Practices (CXP) - Member
- Centre for History, Culture and Memory
Person: Academic