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.
|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|
|Number of pages||18|
|Publication status||Published - 2014|
- Department of History, English, Linguistics and Music - Senior Lecturer in Music
- School of Music, Humanities and Media
- Research Centre for Performance Practices - Member
Milsom, D., & Da Costa, N. P. (2014). Expressiveness in historical perspective: Nineteenth-century ideals and practices. In D. Fabian, R. Timmers, & E. Schubert (Eds.), Expressiveness in Music Performance: Empirical Approaches Across Styles and Cultures (pp. 80-97). [1.5] Oxford University Press.