Output details
35 - Music, Drama, Dance and Performing Arts
Middlesex University
‘Phrasing – the Very Life of Music’: Performing the Music and Nineteenth-Century Performance Theory
The journal in which this essay appears was a special issue also edited by the author.
The origins of this special issue go back to a conference organised with Bennett Zon, the General Editor of Nineteenth-Century Music Review and director of the Centre for Nineteenth-Century Music at the University of Durham.
The conference was called Performing Romantic Music: Theory and Practice.
Given that the large majority of the existing literature on nineteenth-century performance deals with practical issues, I saw the need for a special journal issue devoted specifically to theoretical and critical contexts surrounding nineteenth-century performance practices.
As guest Editor for this special issue, I particularly enjoyed working with authors who are also performers. While the concerns surrounding the integration of the performer’s voice and discourse into the discipline of musicology continues to present a major challenge, the contributions in this special issue highlight the importance of personal insights derived from practical experience in illuminating theoretical, critical and philosophical issues surrounding music performance.