Technique and Expression in Pianoforte Playing

Taylor, F. A.

doi:10.2307/3367216

Cited by 4 publications

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“…Systematizations of instrumental music became Taylor's justification for moving away from the choral movements he grew up with, in part because adhering to new standardized systems and to the project of German instrumental music had enabled him to rise as far in terms of institutional prestige as he could possibly go. 74 Yet perhaps it was essential for the utopian façade of the artmusic project by the end of the nineteenth century to associate standards in instrumental music with the authority of educated white men, whose bodies, while ideologically unnecessary for the existence of absolute music, were still physically required in the examination room as a means of hierarchical reinforcement. The largest educational alternative in music for a white Briton travelling to South Africatonic sol-fa notationmight have rendered familiar to Taylor what the ABRSM's project was trying to avoid: the black convert, musically literate via an alternative and perhaps more permeable means of imperial education.…”

Section: Franklin Taylor Examinermentioning

confidence: 99%

The Examiner and the Evangelist: Authorities of Music and Empire,c.1894

Johnson-Williams¹

2020

J. R. Music. Assoc.

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In the 1890s, two musicians travelled between Britain and South Africa. One was the first examiner to travel abroad to examine for the Associated Board of the Royal Schools of Music, Franklin Taylor. At the same time as Taylor’s arrival in the Cape in 1894, a black South African composer, John Knox Bokwe, prepared to republish a tonic sol-fa hymnal containing many hymns that eventually became popular in Britain, to which Bokwe travelled multiple times. Although these narratives might appear to reflect highly divergent contexts for musical experience, the fluctuating constructions of imperial authority encountered in the careers of both these men link their stories together more deeply than their geographical and cultural disparities set them apart. The synchronous presentation of their stories in this article thus raises questions of how music emerged as a metaphor for constructions of imperial knowledge across shifting cultural boundaries.

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Section: Franklin Taylor Examinermentioning

confidence: 99%

The Examiner and the Evangelist: Authorities of Music and Empire,c.1894

Johnson-Williams¹

2020

J. R. Music. Assoc.

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The Case of Compensating Rubato

Martin¹

2002

J. R. Music. Assoc.

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Rubato has for centuries been linked with the idea of compensating tempo modulation. Despite the wealth of references to this idea in writings by famous performers and teachers over the ages, scholars investigating the idea have so far emphatically dismissed the notion as a myth, or at best a rationalization. In this article, I take as a starting-point these performers' writings, and show that it is scholars rather than performers who have reduced the idea of compensation to an abstract principle. Using Debussy's 1913 piano-roll recordings as examples, I show with the aid of empirical timing data and close listening that compensating rubato is far from a myth in the performance practice of the early twentieth century.

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Nineteenth-Century Musical Agogics as an Element in Gerard Manley Hopkins's Prosody

Wilson¹

2000

Comparative Literature

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Technique and Expression in Pianoforte Playing

Cited by 4 publications

References 0 publications

The Examiner and the Evangelist: Authorities of Music and Empire,c.1894

The Examiner and the Evangelist: Authorities of Music and Empire,c.1894

The Case of Compensating Rubato

Nineteenth-Century Musical Agogics as an Element in Gerard Manley Hopkins's Prosody

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