What is included with this book?
Editor's Preface | p. v |
Acknowledgements | p. xi |
List of Online Examples | p. xiii |
List of Music Examples | p. xvii |
List of Figures and Table | p. xix |
Notes on Contributors | p. xxiii |
The Performer's Voice | |
Where Things Stand Now | p. 1 |
The Performer's Voice and 'His Dualistic Soul': Hindemith Reconsidered | p. 27 |
What Underwrites the Performer's Voice? A Bakhtinian Perspective | p. 43 |
Performer's Voices Across Centuries and Cultures | |
The port de voix in Louis Couperin's Unmeasured Preludes: A Study of Types, Functions and Interpretation | p. 59 |
Explorations around Bass Parts and Key Schemes: Recording the Cantatas of Alessandro Scarlatti | p. 85 |
Marimba Plays Early Music: An Approach Informed by Historical Performance Practice | p. 103 |
A Philosophy of the Performer's Voice and Its Performance in Works by Mozart and Stravinsky | p. 121 |
The Literary Song Recital with Special Reference to Maud | p. 137 |
'On the String in the Peasant Style': Performance Style in Early Recordings of Béla Bartók's Romanian FolkDances | p. 151 |
The Lowly Voice: The Singapore Bassist Voice | p. 163 |
From Fortepiano to Modern Piano: A Case Study of a Performer-Composer Collaboration | p. 177 |
Kung Fu Fan Turns Master: Eagle Claw Wu Tsiao Chen Wins | p. 191 |
Index | p. 201 |
Table of Contents provided by Ingram. All Rights Reserved. |
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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.