ABSTRACT
Why do most musical performers and musical researchers continue to inhabit divergent epistemic spaces? To what extent is the act of musical performance coextensive with the act of doing musical research, and vice versa? At what point in the research process can a performative act transform into a scholarly one, and a scholarly act into a performative one? These, and other related questions, form the central focus of this book, with each chapter offering a fresh perspective on a particular topic in music performance studies: improvisational traditions, historical performance practices, analysis and performance, sports psychology, cross-cultural musical interactions, and institutional challenges.
This book is aimed at music researchers, teachers, students, and practising musicians interested in the intersection of academic and performance research; as such, it seeks to bridge the divide between the research of university-trained musicologists, scholars from other fields who focus on music, and the growing community of musical artist-researchers. Material in this book is supported by performance outcomes offered by the contributors on a separate YouTube channel and on the Routledge online portal.
TABLE OF CONTENTS
part |66 pages
Critical Interlude 1
part I|64 pages
Tools of (Historical) Performance Practice
chapter 1|26 pages
“Che hanno contrapunto”
chapter 2|20 pages
The Italian Imitative and Interdisciplinary Musical Ethos of the Sixteenth Century
part |46 pages
Critical Interlude 2
part II|44 pages
Scholars and Performers in Dialogue
chapter 4|21 pages
Analysing and Playing Chopin's Nocturne op. 27, no. 1
part |52 pages
Critical Interlude 3
part III|48 pages
Institutional Endeavours
chapter 7|15 pages
Preparing Music Students for a Public Recital
part |38 pages
Critical Interlude 4
part IV|36 pages
Cultural Barriers and Embodied Knowledge