Music Performance Encounters: Collaborations and Confrontations

Contents

• Introduction
• "Who Are You?": On Performers, Scholars, Masters, and Pupils
• Critical Interlude 1
• Part I: Tools of (Historical) Performance Practice
• 1) "Che hanno contrapunto": Counterpoint Training and the Performance of Diminution in the Sixteenth and Seventeenth Centuries
• 2) The Italian Imitative and Interdisciplinary Musical Ethos of the Sixteenth Century: Ganassi's La Fontegara
• 3) Echos of Cor Alto and Cor Basse: In Search of an Ideal Horn Sound
• Critical Interlude 2
• Part II: Scholars and Performers in Dialogue
• 4) Analysing and Playing Chopin’s Nocturne Op. 27, no. 1: An Empirical Study of the Interaction between Analysts and Performers
• 5) Resonant Openings: Collaborating on Crumb’s Nocturnes
• Critical Interlude 3
• Part III: Institutional Endeavours
• 6) The Absent Teacher Approach
• 7) Preparing Music Students for a Public Recital: Applying Principles of Practice from Sport Sciences and Other Disciplines
• Critical Interlude 4
• Part IV: Cultural Barriers and Embodied Knowledge
• 8) Knowing the World through Music
• 9) Performing Jennifer Walshe’s SELF-CARE