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Body in Musical Performance Knowledge, Gesture, and Identity.
, Brepols - Harvey Miller, 2026 Hardback,Pages: xx + 276 p.,Size:210 x 270 mm, Illustrations:19 b/w, 5 tables b/w., 22 musical examples Language(s):English. ISBN 9782503621920.
Summary This volume offers a groundbreaking exploration of musical embodiment across time, geography, and genre, bringing together thirteen essays that reframe the performing body as a site of knowledge, creation, and critical reception. From early modern opera to nineteenth-century improvisation, from experimental multimedia theatre to contemporary performance analysis, the contributors reveal how gesture, physical technique, proprioception, and symbolic constructions of the body shape, and are shaped by, musical meaning. Uniting historically grounded inquiry with performance theory and cognitive approaches, the essays cluster around four main axes: the embodiment of musical meaning in the interaction between performer and listener; the body as cultural and ideological construct in gendered, stigmatised, and national identities; the transmission and reactivation of embodied knowledge in historical performance; and the creative body as agent in composition, pedagogy, and ritual. Drawing on sources as diverse as early wax-cylinder recordings, liturgical chant, zarzuela reviews, and postwar ballet-opera hybrids, the volume foregrounds embodiment as both material and epistemic. Rather than treating the body as an expressive vehicle alone, these essays demonstrate that musical works themselves ? whether composed, improvised, or remembered ? are shaped through the performer?s somatic intelligence and the listener?s imaginative co-presence. With contributions from leading scholars and practitioner-researchers, this collection sets a new standard for interdisciplinary studies of musical performance. It will be essential reading for musicologists, performers, theorists, and historians of the body seeking to understand how music happens in and through the body, across eras and expressive systems. TABLE OF CONTENTS Bodies, Meanings, and Musical Knowledge: An Introduction Marcello Mazzetti I. Embodiment and Musical Meaning: From Performer to Listener The Role of Embodiment in Forming Aesthetic Judgements of Musical Recordings Hamish Robb Embodying Puccini?s Manon Lescaut, Based on Lived-Experience Interviews with International Interpreters Sandra Oman Farren [?] any unnecessary movement was discouraged : Bodily Gesture and the Ideology of Artistic Autonomy in Early Twentieth-Century Pianists Lu s Bastos Machado Richard Strauss?s Lieder in ?Song-Ballets? Choreographed by Eliot Feld Wayne Heisler Jr. II. Embodied Identities: Gender, Stigma, Nationality The Stigma of Castration: Medicine, Sex and Women in the Life of the Singer Carlo Broschi Farinelli Daniel Mart n S ez Body, Music and the Stage: The Role of Corporality in the Shows at the Teatro Apolo in Madrid (1890?1913) Jonathan Mallada lvarez Boccherini and the ?Spanish Body?: Reflections on Popular Dance and National Identity Aur lia Pessarrodona III. Historical Embodiment: Transmission, Performance, Recording (Re)constructing Julius Block: Embodied Responses to Early Recordings Inja Stanovi? Embodiment and Disembodiment in Musical Sources of the 17th and 18th Centuries Berthold Over IV. Creating through the Body: Pedagogy, Improvisation, Dramaturgy The Art of Preluding: Body and Technique in Nineteenth-Century Piano Improvisation Roberto Cornacchioni Alegre Roman Vlad, Carla Fracci, and the Dancing Body Antonella Manca From the Body and to the Body: Performativity and Sensory Experience from Liturgical Rites to the Cantigas de Santa Maria Maria Incoronata Colantuono Abstracts and Biographies Index of Names
Basso Continuo in Italy. Sources, Pedagogy and Performance
, Brepols, 2023 Hardback, xxx + 345 pages, Size:210 x 270 mm, Illustrations:30 b/w, 70 musical examples, Language(s):English, Italian. ISBN 9782503608501.
Summary The volume explores the long-lasting phenomenon of basso continuo in the Italian peninsula, from its origins ? i.e. from the regole per suonare sopra il basso which collects and develops the contrappunto alla mente's legacy ? up to the late partimento pedagogy. In addition to a bibliographic update, the volume presents case studies providing the reader with new information on performative contexts and performance practice between the sixteenth and nineteenth centuries, and shedding new lights on sacred and secular genres and repertoires cultivated in churches, theatres, academies, noble chambers and domestic environments. Particular attention is given to the relationship between counterpoint, improvisation and instrumentation, to the analysis of primary sources in relation to book formats and the type of notation chosen to convey the accompaniment. Furthermore, a few chapters focus on peculiar issues of accompaniment pedagogy according to unpublished or neglected sources. TABLE OF CONTENTS Marcello Mazzetti, Introduction Performance Practice Issues: Stylistic Features and Historical Contexts 1. Naomi Matsumoto, Realising Arianna: The Problematic Accompaniments of Claudio Monteverdi's Lamento d'Arianna 2. Galliano Ciliberti, La pratica del basso continuo a S. Luigi dei Francesi a Roma nel Seicento 3. Giulia Nuti, Antonio Vivaldi's Use of Figures: Per li coglioni and Other Examples Sources, Formats, and Accompaniment Layout: Stylistic Features and Historical Contexts 4. Augusta Campagne, Basso Continuo: The Beginnings in Italy 5. Thomas Neal, Between Practice and Print: Performing Palestrina's Missarum liber quartus (1582) with Alessandro Nuvoloni's basso prencipale co'l soprano (1610) 6. Marina Toffetti, Fossil Traces of Vanished Voices: The Basso Continuo Part and the Reconstruction of Incomplete Polyphony 7. Marcos Krieger, Figured Bass and Figured Melody: Printed Figures in Italian Continuo Sources and Idiosyncratic Continuo Notation Practices as Found in Three 17th Century Italian Prints The Accompaniment between Pedagogy and Performance 8. Catherine Bahn - Giovanna Barbati, The Partimenti of Rocco Greco: Reconstructing the Pedagogical Tradition for the Early Violoncello 9. Peter van Tour, The Teaching of Counterpoint and Partimento in the School of Francesco Feo 10. Eric Boaro, Partimento Teaching at the Convent of Santi Marcellino e Festo in Naples: New Early Eighteenth-Century Sources of Realisations of Partimenti by Francesco Durante (c. 1707-1715) 11. Marco Pollaci, Vincenzo Bellini's Studio del Contrappunto Notebook: An Investigation of a New Source of Partimento and Counterpoint in Early Nineteenth-Century Italy Fundamental Issues: Counterpoint, Improvisation and Instrumentation 12. Edoardo Bellotti, Basso continuo e contrappunto nelle fonti seicentesche: un moderno approccio alla didattica musicale 13. Livio Ticli, Contrapunto alla mente or Basso Continuo? Agostino Agazzari and His Sonare sopra'l Basso Abstracts and Biographies Index of Names
