Investigating Musical Performance

Gianmario Borio is Professor of Musicology at the University of Pavia and Director of the Institute of Music at the Fondazione Giorgio Cini, Venice. He is a member of the Academia Europaea, corresponding member of the American Musicological Society and corresponding fellow of the British Academy. His publications deal with several aspects of twentieth-century music (theory and aesthetics, political background, the audiovisual experience), the history of musical concepts and the theory of musical form. Giovanni Giuriati is Professor of Ethnomusicology at the University of Rome ‘La Sapienza’ and Director of the Intercultural Institute for Comparative Music Studies at the Fondazione Giorgio Cini, Venice. He has researched and published extensively on the traditional music of Cambodia and Indonesia, and on the instrumental music and the relationship between music and festivals in southern Italy. Alessandro Cecchi is Lecturer of Musicology at the University of Pisa. His publications mainly deal with music theory, musical aesthetics and twentieth-century music, including film music. He is director of the book series Musica.Performance.Media (NeoClassica). Marco Lutzu is Lecturer of Ethnomusicology at the University of Cagliari. He has carried out fieldwork in Sardinia and Cuba, focusing on the relationship between music and religion, improvised poetry, hip hop culture and performance analysis. He is the scientific director of the Encyclopedia of Sardinian Music.

I.

The interactive and spatial life of music: towards a composite ethnomusicological approach for

the analysis of musical performance

by Giovanni Giuriati

On the sonorous rendering of musical texts: theoretical stances since the early nineteenth century

by Gianmario Borio

Empirical methods in the study of music performance: an interdisciplinary history

by Martin Clayton

Musical performance as a medium of value

by Timothy D. Taylor

‘Musical Personae’ revisited

by Philip Auslander

The performer’s experience: positional listening and positional analysis

by John Covach

Music’s techno-chronemics

by Martin Scherzinger

Investigating musical performance: an overview of recent perspectives

by Alessandro Cecchi, Marco Lutzu

II.

Who’s keeping the score?

by Janet Schmalfeldt

Judging Chopin: an evaluation of musical experience

by John Rink

The manufacture of extravagant gesture: labour and emotion on the operatic stage

by Mary Ann Smart

The physiognomy of the voice: vocal gestures in Italian experimental music (1960–70)

by Michela Garda

Sentimental gesture and the politics of ‘shape’ in the performances of Abd al-Halim Hafiz

by Martin Stokes

Marking the sam: tal, tempo and gesture in khyal performance

by Laura Leante

Lokapañca: analysing structure, performance and meanings of a temple song in Nepal

by Richard Widdess

Between music and noise: the discussion of portamento and its socio-aesthetic implications during

the long nineteenth century

by Camilla Bork

Towards a consideration of the contemporary musical work as ‘a work in progress’

by Pierre Michel