Inbunden, Engelska, 2024

The Lied at the Crossroads of Performance and Musicology

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Beskrivning

There seems to be an essential relationship between the performance and the scholarship of the German Lied. Yet the process by which scholarly inquiry and performative practices mutually benefit one another can appear mysterious and undefined, in part because any dialogue between the two invariably unfolds in relatively informal environments - such as the rehearsal studio, seminar room or conference workshop. Contributions from leading musicologists and prominent Lied performers here build on and deepen these interactions to reconsider topics including Werktreue aesthetics and concert practices; the authority of the composer versus the performer; the value of lesser-known, incomplete, or compositionally modified songs; and the traditions, habits and prejudices of song recitalists regarding issues like transposition, programming and dramatic modes of presentation. The book as a whole reveals the reciprocal relevance of Lied musicology and Lied performance, thereby opening doors to fresh and exciting modes of interpretative artistry and intellectual discovery.

Produktinformation

Utgivningsdatum: 2024-02-15
Mått: 176 x 250 x 19 mm
Vikt: 590 g
Format: Inbunden
Språk: Engelska
Antal sidor: 248
Förlag: Cambridge University Press
ISBN: 9781316518847

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Mer om författaren

Benjamin Binder is a musicologist and pianist whose work on German Romantic music, art song, and performance has appeared in Nineteenth-Century Music Review, Journal of the American Musicological Society, Music Theory Online, and many edited volumes. From 2010–14 he directed the Vancouver International Song Institute's Song Scholarship and Performance program. Jennifer Ronyak is the author of Intimacy, Performance, and the Lied in the Early Nineteenth Century (2018). In 2021–22 she was a Marie Skłodowska Curie Fellow at the University of Oxford, where she pursued work on a book project currently titled Composing Philosophy: Amateur Approaches to Western Thought in Classical Music.

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'This book affirms the power of song in forging dialogues across performance and research. To engage with song, the volume shows, is to reimagine the lines between the sonic and the textual, the historical and the contemporary, and to embrace a genre that stands at the forefront of musicological innovation.' Joe Davies, University of California, Irvine

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