Performing History

The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology.

Autorentext
Nancy November is currently an Associate Professor in musicology at the University of Auckland. Combining interdisciplinarity and cultural history, her research continues to center on chamber music of the late eighteenth and nineteenth centuries, probing questions of historiography, canonization, and genre. Recent publications include Beethoven's Theatrical Quartets: Opp. 59, 74, and 95 (Cambridge University Press, 2013); a three-volume set of fifteen string quartets by Emmanuel Aloys Förster (A-R Editions, 2016); and Cultivating String Quartets in Beethoven's Vienna (Boydell Press, 2017). She is the recipient of a Humboldt Fellowship, and two Marsden Grants from the New Zealand Royal Society.

Inhalt
Table of ContentsIntroduction Nancy NovemberHIP Experiences1. Some Senses of History among HIP Performers Mary Hunter2. Counting to Four: The flûte du quatre in Charles Dieupart's Six Suittes (1701) Imogen Morris3. The French style of Viol Bowing and the enflé in the Works of Marin Marais Polly Sussex4. Contextual History through Rhetorical Visuality in Performing Monteverdi's Il pianto della Madonna Daniela KalevaPerformance as Celebration and Conservation5. Celebrating and Enhancing a Virtual Past through Singing: The Polynesian Community on Taku Richard Moyle6. Reimagining Traditional Ritual Music of Sabah for Contemporary Performance as a Means of Conservation Mia PalenciaPerforming War7. Historical Fidelity and Creative License in two Viennese Battles of the Nile Allan Badley8. Gallipoli to the Somme: A Musical Witness to History Anthony Ritchie9. Britten's Primal Scream Sterling LambertStaging Power and Enlightenment10. Staging Power: The Role of Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613-76) in Wolfenbüttel Court Festivities of the 1650s Hannah Spracklan-Holl11. An Enlightened Future History on the Milan Opera Stage: Niccolo` Piccinni's Il regno della Luna Lawrence MaysPerforming the Body and the Senses12. "A New World is Opened up to View": Orchestral Gesture in Berlioz's Roméo et Juliette Inge van Rij13. Italian Futurism: Music and the Senses in the Modern Age Jennifer Rumbell Performing the Popular14. "Saxophones Sobbed Out Jazz": New Zealand's First Jazz Recording Aleisha Ward15. "To Display Her Chief Accomplishment": Domestic Manuscript Music Collections in Colonial Australia Rosemary RichardsAuthor Biographies

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