O Novo Estado da Arte dos Estudos em Performance
Visualizações: 185DOI:
https://doi.org/10.33871/23179937.2020.8.2.18Palavras-chave:
Performance musical, Estudos em performance, Pesquisa em performanceResumo
A performance-como-pesquisa e a performance baseada em pesquisa são alvos de criÌticas constantes na academia. Autores como Clarke, Cook e Daniel Leech-Wilkinson integram um grupo muito proeminente de pesquisadores que abordam esse assunto. Cook se destaca com o livro Beyond the Score: Music as Performance (livro que seraÌ analisado durante este texto), no qual realiza criÌticas duras e, por vezes, precipitadas, aÌ€ performance da muÌsica de concerto, especialmente da que ele chama de "˜performance modernista'. Por meio dele eÌ possiÌvel conhecer outros autores de seu grupo que apoiam ideias similares. Acontece que Cook, com seu tom, parece esperar que seus leitores partam de conhecimentos taÌcitos acerca da realidade atual da performance musical e dos estudos em performance. A anaÌlise feita aqui, principalmente deste livro, vem para estabelecer um contraponto e para tentar conter algumas de suas ideias depreciativas sobre a pesquisa em performance, a performance musical e outros campos que permeiam a ramificação dos estudos em performance. [resumo elaborado pelos tradutores]
Downloads
Referências
APP, Angelika. Die 'Werktreue' bei Clara Schumann. In: Peter Ackermann e Herbert Schneider (eds.). Clara Schumann: Komponistin, Interpretin, Unternehmerin, Ikone. Hildesheim, Zürich, e Nova York: Olms, 1999.
BERRY Wallace. Musical Structure and Performance. New Haven: Yale University Press, 1989. BIASUTTI, Michele; SEDDON, Frederik. Modes of Communication Between Members of a
String Quartet. Psychology of Music, 37 (2009) pp. 395-415.
BOISSIÈRE, Anne. L' Ambivalence d'une approche: Critique ou nihiliste?. Musicae Scientiae,
Discussion Forum 2 (2001), pp. 29 - 33.
BUTT, John. Playing with History: The Historical Approach to Musical Performance. Cambridge: Cambridge University Press, 2002.
CARTER, Tim. It"™s All in the Notes?. Early Music, 61 (2013) pp. 81-92.
CHARM. Style, Performance, and Meaning in Chopin"™s. Disponível em:
<http://www.charm.rhul.ac.uk/projects/p2_3.html>. Accesso em 18 de nov. de 2015.
COOK, Nicholas. Beyond the Score: Music as Performance. Oxford: Oxford University Press, 2013.
_________. PETTENGILL, Richard. "˜The Unbridgeable? Empirical Musicology and Interdisciplinary Performance Studies"™. In Nicholas Cook e Richard Pettengill (eds.). Taking it to the Bridge: Music as Performance. Ann Arbor: University of Michigan Press, 2013.
_________. Writing on Music or Axes to Grind: Road Rage and Musical Community. Musical Education Research, 5/3 (Nov. 2003), 249-261.
_________. Analysing Musical Multimedia. Oxford: Oxford University Press, 1998.
_________. The Schenker Project: Culture, Race, and Music Theory in Fin-de-siecle Vienna.
Oxford: Oxford University Press, 2007.
_________. Writing on Music or Axes to Grind: the timbral, textural and performative qualities of popular music. In: Nicholas Cook. Music, Performance, Meaning: Selected Essays. Londres: Routledge, 2007.
COSTA, Neal Peres Da. Off the Record: Performing Practices in Romantic Piano Playing. Oxford: Oxford University Press, 2012.
COTTRELL, Stephen. The Rise and Rise of Phonomusicology. In: Amanda Bayley. Recorded Music: Performance, Culture and Technology. Cambridge: Cambridge University Press, 2010.
________________. Professional Music-Making in London. Londres: Routledge, 2007.
CROFT, John. Composition is not Research. Tempo, 69/272 (abril de 2015).
CRUTCHFIELD, Will. Vocal Performance in the Nineteenth Century. In: Colin Lawson e Robin Stowell (eds.). The Cambridge History of Musical Performance. Cambridge: Cambridge University Press, 2012.
DANUSER, Hermann. Werktreue und Texttreue in der musikalischen Interpretation. In: Sabine Ehrmann-Herfort, Ludwig Finscher e Giselher Schubert (eds.). Europäische Musikgeschichte, Band 2. Kassel: Metzler, 2002.
DAVIES, Stephen. Musical Works and Performances: A Philosophical Exploration. Oxford: Oxford University Press, 2001.
DAY, Timothy. A Century of Recorded Music: Listening to Musical History. New Haven: Yale University Press, 2000.
DUNSBY, Jonathan. Performing Music: Shared Concerns. Oxford: Oxford University Press, 1995.
EAGLETON, Terry. The Illusions of Postmodernism. Oxford: Oxford University Press, 1996.
EVERIST, Mark. COOK, Nicholas. Analysing Performance and Performing Analysis. In: EVERIST, Mark. COOK, Nicholas (eds.). Rethinking Music. Oxford: Oxford University Press, 1999.
FABIAN, Dorottya. Bach Performance Practice 1945-1975: A Review of Sound Recordings and Literature. Aldershot: Ashgate, 2003.
_________. The Meaning of Authenticity and the Early Music MovementçA Historical Review. International Review of the Aesthetics and Sociology of Music, 32/2 (Dec. 2001).
_________. Is Diversity in Musical Performance truly in Decline?: The Evidence of Sound Recordings. Context: A Journal of Music Research, 31 (2006).
FROTSCHER, Gotthold. Aufführungspraxis alter Musik. Wilhelmshaven e Amsterdam: Heinrichschofen, 1963.
GELI, Hans-Georg Na. Vorlesungen Musik mit Berücksichtigung der Dilettanten. Stuttgart: Cotta, 1826.
GOEHR, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford: Oxford University Press, 1992.
GRASSL, Markus. KAPP, Reinhard. Kapp (eds.), Die Lehre von der musikalischen Aufführung in der Wiener Schule. Vienna: Böhlau, 2002.
HARNONCOURT. Nikolaus. The Musical Dialogue: Thoughts on Monteverdi, Bach and Mozart. Tradução de Mary O"™Neill. Portland: Amadeus Press, 1989.
HAYNES, Bruce. The End of Early Music: A Period Performer"™s History of Music. Oxford: Oxford University Press, 2007.
HILL, Robert. Arbeitsgemeinschaft für musikalische Werkpraxis. In: Bryan Gilliam (ed.), Music and Performance during the Weimar Republic. Cambridge: Cambridge University Press, 1994.
JOHNSON, Peter. COOK, Nicholas. ZENDER, Hans. Theory into Practice: Composition, Performance and the Listening Experience. Leuven: Leuven University Press,1999.
KENNAWAY, George. Historiographically Informed Performance?. In: Vesa Kurkela e Markus Mantere (eds.). Critical Music Historiography: Probing Canons, Ideologies and Institutions. Farnham: Routledge, 2015.
KENYON, Nicholas. Authenticity and Early Music. Oxford: Oxford University Press, 1988. KIVY, Peter. Authenticities: Philosophical Reflections on Musical Performance. Ithaca: Cornell
University Press, 1995.
KLAUS, Heinz Metzger. RIEHN. (eds.), Rudolf Kolisch: Zur Theorie der Auffuhrung. Munich: Aulage , 1983.
KRAMER, Lawrence. Why Classical Music still Matters. Berkeley: University of California Press, 2007.
KRONES, Harmut. 175 Jahre Aufführungspraxis Alter Musik in Wien. in Krones (ed.), Alte Musik und Musikpädagogik. Viena: Böhlau, 1997.
MILSOM, David. Theory and Practice in Late Nineteenth-Century Violin Performance. Aldershot: Ashgate, 2003.
PACE, Ian. Composition and Performance Can Be, and Often Have Been, Research. Tempo, 70/275 (janeiro de 2016).
_________. Notation, Time and the Performer"™s Relationship to the Score in Contemporary Music. In: Darla Crispin (ed.), Unfolding Time: Studies in Temporality in Twentieth-Century Music. Leuven: Leuven University Press, 2009.
PHILIP, Robert. Early Recording and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950. Cambridge: Cambridge University Press, 1992.
RINK, John. The State of Play in Performance Studies. In: Jane W. Davidson. The music Practitioner: Research for the Music Performer Teacher and Listener. Aldershot: Ashgate, 2004.
_________. The Practice of Performance: Studies in Musical Interpretation. Cambridge: Cambridge University Press, 1995.
STEPHAN, Rudolf. Zum Thema historische Aufführungspraxis, Jahrbuch des Staatlichen Instituts für Musikforschung Preuischer Kulturbesitz, 11/1 (1994), 9 - 19.
STEWART, Simon. Evaluating Culture: Sociology, Aesthetics and Policy, Sociological Research Online, 18/1 (2013), disponível em (acessado 5 Mar. 2016 ).
TARUSKIN, Richard. Text and Act: Essays on Music and Performance. Oxford: Oxford University Press, 1995.
THORNTON, Sara. BORN, Georgina. FRIT, Simon. In Ben Watson. Adorno for Revolutionaries. Londres: Unkant, 2011.
WALLS, Peter. History, Imagination, and the Performance of Music. Woodbridge and Rochester: Boydell, 2003.
WILKINSON, Daniel Leech. Recordings and Histories of Performance Style. In: The Cambridge Companion to Recorded Music. Cambridge: Cambridge University Press.
_________. The Changing Sound of Music: Approaches to Studying Recorded Musical Performances (Londres, 2009), disponível em (acessado em 10 de novembro de 2015).
WILSON, Nick. The Art of Re-enchantment: Making Early Music in the Modern Age. New York: Oxford University Press, 2014.
Downloads
Publicado
Como Citar
Edição
Seção
Licença
Copyright (c) 2021 Ian Pace, Vitória Louveira, William Teixeira
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.
Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.