Investigating Musical Performance

Gianmario Borio is Professor of Musicology at the University of Pavia and Director of the Institute of Music at the Fondazione Giorgio Cini, Venice. He is a member of the Academia Europaea, corresponding member of the American Musicological Society and corresponding fellow of the British Academy. His publications deal with several aspects of twentieth-century music (theory and aesthetics, political background, the audiovisual experience), the history of musical concepts and the theory of musical form.Giovanni Giuriati is Professor of Ethnomusicology at the University of Rome ‘La Sapienza’ and Director of the Intercultural Institute for Comparative Music Studies at the Fondazione Giorgio Cini, Venice. He has researched and published extensively on the traditional music of Cambodia and Indonesia, and on the instrumental music and the relationship between music and festivals in southern Italy.Alessandro Cecchi is Lecturer of Musicology at the University of Pisa. His publications mainly deal with music theory, musical aesthetics and twentieth-century music, including film music. He is director of the book series Musica.Performance.Media (NeoClassica).Marco Lutzu is Lecturer of Ethnomusicology at the University of Cagliari. He has carried out fieldwork in Sardinia and Cuba, focusing on the relationship between music and religion, improvised poetry, hip hop culture and performance analysis. He is the scientific director of the Encyclopedia of Sardinian Music.

• I.The interactive and spatial life of music: towards a composite ethnomusicological approach forthe analysis of musical performanceby Giovanni GiuriatiOn the sonorous rendering of musical texts: theoretical stances since the early nineteenth centuryby Gianmario BorioEmpirical methods in the study of music performance: an interdisciplinary historyby Martin ClaytonMusical performance as a medium of valueby Timothy D. Taylor‘Musical Personae’ revisitedby Philip AuslanderThe performer’s experience: positional listening and positional analysisby John CovachMusic’s techno-chronemicsby Martin ScherzingerInvestigating musical performance: an overview of recent perspectivesby Alessandro Cecchi, Marco LutzuII.Who’s keeping the score?by Janet SchmalfeldtJudging Chopin: an evaluation of musical experienceby John RinkThe manufacture of extravagant gesture: labour and emotion on the operatic stageby Mary Ann SmartThe physiognomy of the voice: vocal gestures in Italian experimental music (1960–70)by Michela GardaSentimental gesture and the politics of ‘shape’ in the performances of Abd al-Halim Hafizby Martin StokesMarking the sam: tal, tempo and gesture in khyal performanceby Laura LeanteLokapañca: analysing structure, performance and meanings of a temple song in Nepalby Richard WiddessBetween music and noise: the discussion of portamento and its socio-aesthetic implications duringthe long nineteenth centuryby Camilla BorkTowards a consideration of the contemporary musical work as ‘a work in progress’by Pierre Michel