Early Sound Recordings: Academic Research and Practice

Contents

• Introduction
• Part I: Interpreting early recordings: cultural, critical and contextual approaches
• 1. Kate Bennett Wadsworth (Guildhall School of Music and Drama), "Dactyls and Fire Spirits: Carl Reinecke's written publications on Mozart as a guide to his piano rolls"
• 2. Emily Worthington (University of York), "Individuality, Corporate Identity and the Development of Wind Playing Style in the Recordings of the BBC Symphony Orchestra and London Philharmonic Orchestra, 1930-39"
• 3. Gabrielle Kaufman (Universitat Autonoma de Barcelona), "Expressive Portamento in "Ombra mai fu": an analysis of recordings by cellists, violinists, and singers 1906-1925"
• 4. Barbara Gentili (Cardiff University) and Daniele Palma (Universita di Bologna), "Earthy Singing, Sensuous Voices: Timbre and orthodoxies of beautiful singing in operatic early recordings (1900-1940)"
• Part II. Animating the archive: early recordings in practice-led research
• 5. David Milsom (University of Huddersfield), "Understanding Joseph Joachim's Style and Practice: recordings as a research tool"
• 6. Richard Beaudoin (Darmouth College), "Micro-temporal Measurements of Two Early Debussy Recordings as the Foundation for New Music"
• 7. Joanna Staruch-Smolec (Universite Libre de Bruxelles and Conservatoire royal de Bruxelles), "Towards a Better Understanding of Ysaye's Portamento: a comparative study of recorded and annotated evidence in a practice-based approach"
• 8. Inja Stanovic (City, University of London), "(Re)constructing Early Recordings: Experimental research as a guide in performance"
• Part III. Rethinking theory and analysis: the musical work viewed through early recordings
• 9. Eva Moreda Rodriguez (University of Glasgow), "From Notation to Stage to Recording in Spanish Zarzuela, 1896-1958"
• 10. Georgia Volioti (University of Surrey), "The Written and the Sung: Grieg's piano ballade and the performativity of genre"
• 11. Ana Llorens (Universidad Complutense de Madrid), "Early recorded structures: non-organic forms in Brahms's cello sonatas as performed by Feuermann and Casals"
• 12. Adam Stanovic (London College of Communication, University of the Arts), "Trust in Early Recordings: documents, performances and works"