Critical Music Historiography: Probing Canons, Ideologies and Institutions

Kurkela, Vesa; Mantere, Markus

doi:10.4324/9781315575049

Cited by 4 publications

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“…[159]. Thermalization at a very early stage of the collision, at or below 1 fm/c, as employed in hydrodynamic calculations, remains a challenge to theory [160], but recent developments [161] bring further hope for understanding the issue.…”

Section: Collective Flow and The Kinetic Freeze-outmentioning

confidence: 99%

An overview of the experimental study of quark–gluon matter in high-energy nucleus–nucleus collisions

Andronic

2014

Int. J. Mod. Phys. A

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Section: Collective Flow and The Kinetic Freeze-outmentioning

confidence: 99%

An overview of the experimental study of quark–gluon matter in high-energy nucleus–nucleus collisions

Andronic

2014

Int. J. Mod. Phys. A

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The New State of Play in Performance Studies

Pace¹

2017

Music and Letters

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In an essay published in 2004, 1 John Rink characterised the field of 'Performance Studies' in music as consisting of 'three overlapping domains': historical performance practice, the psychology of performance, and analysis and performance. Within these he found a series of problematic biases: towards Western art music, solo piano repertoire, and the study of tempo and dynamics. Of these, historical performance practice (or HIPhistorically-informed performance) is much the oldest, dating back at least as far as the work of François-Joseph Fétis in the 1830s, and gaining in prominence later that century. At the time of Rink's essay, the field was already starting to embrace the study of historical recordings, building on the pioneering work of Robert Philip, has been labelled as a subdiscipline in its own right: 'phonomusicology'. 2 (I prefer to see recordings and videos more simply as a sourcetype for the study of musical performance, with only limited application for the previous century, and almost none for earlier periods.) The study of historical performance practice now includes historical instruments and techniques, performance style and normative practices in specific times and places, and selfreflection on methodological and aesthetic considerations appertaining to the field in general. 3 The psychology of performance emerged from the early 1980s onwards, not least through the important work of John Sloboda and Eric Clarke. Analysis and performance came to the fore in the 1990s, stimulated by a debate following the publication of Wallace Berry's Musical Structure and Performance in 1989, 4 and has been notable for major contributions from Rink, Jonathan Dunsby, and Nicholas Cook. 5 The field has spawned subdisciplines since Rink's essay, and I would identify a further important domain already established at that time-critical, philosophical, and theological reflection on performance, which sometimes draws upon wider

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writing rationally after rape: experiencing knowledge production in an academic music context

McGinn¹

2019

Women and Music

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Critical Music Historiography: Probing Canons, Ideologies and Institutions

Cited by 4 publications

References 0 publications

An overview of the experimental study of quark–gluon matter in high-energy nucleus–nucleus collisions

An overview of the experimental study of quark–gluon matter in high-energy nucleus–nucleus collisions

The New State of Play in Performance Studies

writing rationally after rape: experiencing knowledge production in an academic music context

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