Music Research

Michael Ewans is Associate Professor of Music and Drama, Chair of Research and Research Training, and Head of the discipline of Drama in the Conservatorium at the University of Newcastle, Australia. Rosalind Halton is Senior Lecturer at the Conservatorium, University of Newcastle John A. Phillips received his Ph.D. from the University of Adelaide in 2002.

I. Performance Practice - Performance As; Research 1; 1. Performance As Research And Vice Versa Roy Howat 2; 2. A Movable Feast: Alessandro Scarlatti and the Serenata Marie-Louise Catsalis 15; 3. Night And Dreams: Text, Texture, And Night Themes In Cantatas By Alessandro Scarlath Rosalind Halton 27; 4. Italian Vocal Music In The Early Nineteenth Century: Historical Versus Modern Interpretative Approaches Prudence Dunstone 40; 5. Questions Of Temperament In The Sonatas Of Domenico Scarlath Jacqueline Ogeil 54; 6. Translating Text Into Motion: Performance Analysis For Singers And Directors Daniela Kaleva 64; 7. Singing To The Ear And To The Heart: Performance Practice And The Rhetorical Tradition In Early And Mid-Eighteenth-Century Italian Vocal Music Alan Maddox 74; 8. Louis Niedermeyer And Early Music Revival In Nineteenth-Century France Ikuno Sako 83; 9. Camilla Urso: A Visiting Virtuoso Brings Music To The People Johanna Selleck 93; vi Contents 10. Mancell Kirby: Melbourne's First Harpsichordist Patricia Duke 103; 11. Red Nichols' Obbligato On "Rockin' Chair" (E-35619-A): Exception Or Rule? Frank Murphy 113; 12. Traditional 'Fakings': Hank Williams, Jeff Buckley, Kamr'uddin Khan And Other Falsetto Acts; John Napier 124; IIA. Music in Societies 135; 13. Performance As Research; Suzanne G. Cusick 136; 14. Repositioning Music Analysis: Preparatory Thoughts For A Case Study Of Indigenous Australian Women's Contemporary Music; Katelyn Barney 155; 15. The Pedagogical As Performative: Opening Up Spaces For Teaching And Learning Indigenous Women's Music And Dance; Elizabeth Mackinlay 165; 16. Intrusions and Delusions: Considering The Impact Of Recording Technology On The Subject Matter Of Ethnomusicological Research; Steven Knopoff 176; 17. From Coffee Houses To Executive Suites: An Experiential Approach To Feminist Musicology; Brydie-Leigh Bartleet 186; 18. When A Military Band Learned Vietnamese Music: The Experience Of The Band Of The Fifth Battalion Royal Australian Regiment In Vietnam, 1966-1967; Tim Humphrey 195; 19. Canti Di Nonno Tony Signor: Documenting The Music Of Australia's Italian Immigrants; Roland Bannister With Antonio 'Tony' Colla, Antonio Comin And Gabriele Vardanega 205; 20. When The String Snaps: Two Domestic Prison Scenarios Linda Kouvaras 215; vii Contents; 21. Mendelssohn's Antigone And The Ancient Greek Polis; Jason Geary 230; 22. The Lamentations Of Manuel Jose Doyague: Recently Rediscovered Manuscript Sources From Manila; David Irving 241; 23. A Venetian Festal Gloria: Antonio Lotti's Gloria In D Major Anne-Marie Forbes 252; 24. Antonio Carlos Jobim: Eclecticism In Popular Music; Peter Freeman 263; 25. The Prix De Rome Competition: Prophetic Or Irrelevant? Julia Lu 276; 26. Louis Laloy (1874-1944), Friend And Apologist Of Debussy; Deborah Priest 286; 27. "La Clarte Francaise": The National Character Of French Orchestral Writing In The Early Twentieth Century; Patricia Shaw 293; 28.Schoenberg's Rilke Settings And The Fragmentation Of War; Jennifer Shaw 303; 29. Music Technology, Sound Art/Interactivity: Reality Music/Virtual Music; Rolf Gehlhaar 316; 30. Interactive Technologies In Music Composition: Towards A Theory Of Interactivity; Cathy Cox 332; 31. Contextualising Ravel's Sonatine; Eddy K. M. Chong 344; 32. On The Wings Of The Wind: The Characterisation Of The Feminine In Mary Mageau's The Furies; Ruth Lee Martin 357; 33. Approaches To Invertible Canonic Composition In Late Sixteenthcentury Theory And Practice; Denis Collins 367; 34. What We Mean By Signs: More About O Nicholas Routley And Andrew Robbie 375; viii Contents; 35. A Fifteenth-Century Response To A Musical Text: The Editor-Scribe In Chantilly, Bibliotheque Du Musee Conde, Ms. 524 (Codex Chantilly); Jason Stoessel 383; 36. Viennese Fundamental Bass Tradition In The Late Nineteenth Century; John A. Phillips 395