Romantic Violin Performing Practices
- Submitting institution
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The University of Huddersfield
: A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - Music
- Output identifier
- 53
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- Multi-component: Book and CD including Contextual Information
- Open access status
- -
- Month
- -
- Year
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The monograph is a distillation of several years of Milsom’s research work in this field. A core part is Milsom’s attempt to demystify a cloistered area of research and practice, to encourage a wider constituency to engage actively and experimentally with historical performance research. The book maps a process of: a) articulating research problems (critically evaluating the notion of a ‘gap’ between current scholarly knowledge and performance, considering the reach of historical performance ‘ideology’ in terms of observable historical performance technical/stylistic characteristics, probing the costs and benefits of an avowed attempt to ‘embody’ historical practices in present-day performance, and evaluating the merits and shortcomings of seeking to ‘emulate’ historical performers); b) conceptualising intentions; c) critically evaluating evidence; d) constructing a quasi-autobiographical set of case studies and reflections; and e) providing exercises for study by the reader. The CD explores the book’s themes in practice, and serves as an exemplar exegesis from the intellectual ideas contained in the book text. The output as a whole demonstrates the impact of ideological precepts (of the time of study and of our own times) upon concrete performance characteristics, and our reactions to them in the present day. Milsom offers a wide-ranging and personal set of comments, conceptualisations, and insights in the book text, some of which unusually seek to take the topic out of a specialist arena and into the wider performing world with the hope of encouraging the fruits of scholarly research (especially as regards aspects of performance style such as tempo flexibility, ensemble asynchrony, appropriate portamento, sparing vibrato, etc.) to gain greater traction in more general performance currency. The CD (with Milsom as performer, co-producer, and liner notes writer) demonstrates how aesthetic and practical ideas in the book can be put into modern instrument practice in fresh, original, and creative ways.
- Author contribution statement
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- Non-English
- No
- English abstract
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