By Anne Marshman
This publication and its accompanying site current the chosen complaints of the inaugural, 'The Performer's Voice: a world discussion board for tune functionality and Scholarship', directed by means of Dr Anne Marshman (editor) and hosted through the Yong Siew Toh Conservatory of tune, nationwide college of Singapore. The chapters, which have been chosen via a technique of foreign peer evaluation, replicate the symposium's wide-ranging interdisciplinary scope, coupled with an uncompromising emphasis at the act of functionality, the function of the performer and the pro performer's standpoint.
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Sample text
Rosalind Halton. She is currently preparing for her German ‘Diplom’ degree at the Hochschule für Künste Bremen. Joshua Walden Joshua S. Walden is a Junior Research Fellow in music at Merton College, University of Oxford. He earned his PhD in historical musicology at Columbia University and his BA in music at the University of California at Berkeley. Walden has held an Edison Fellowship at the British Library Sound archive, a Junior Research Fellowship at Wolfson College, Oxford and a Harold Powers World Travel Fund grant from the American Musicological Society.
In a talk I gave five years later, called ‘Tradition and Authority’, I found reasons for optimism in what I described as the beginnings of ‘a hardy social practice … that obeys its own dictates, has its own momentum, is becoming more and more eclectic, contaminated, suggestible’, in short, that it was behaving like a living tradition, which is to say an oral tradition (Taruskin 1995, p. 194). ’ I asked, and I assured myself and my audience that it might not be with a quotation from Alfred Brendel, who was also noticing around then that ‘[p]erformances have become less dogmatic and more personal’ (Brendel 1990, p.
In the performance of early music, we too—by studying the implications of eighteenth-century performing conditions, aesthetic preferences, and the music itself, and seeing what impact each discovery in one of these may have for the others—can gradually reach a fully adequate approximation. This is not to suggest that there exists a Main Truth to be discovered, but that each age and each talented composer found temporary truths, some of which we may hope to rediscover. (Zaslaw 1989, p. 446) But we cannot simply ‘leave aside … the idea that there is … such a thing as “right”’, as Neal Zaslaw proposes, because that, precisely, is the idea that motivates the whole iterative project – the conviction that the uniformity of then not only existed, but that it is to be preferred over the uniformity of now.