Acknowledgments
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i
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1.
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Dancing to Architecture?
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1
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1.1
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The Problems of Researching and Writing about Music Performance
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3
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Problems with Historical Investigations of Music Performance
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7
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Is HIP a Modern Invention/Aesthetic or Does it Have Historical Grounding?
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12
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Data versus Narrative–Letting Go of Dancing or Returning to the Dance Floor?
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13
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1.2
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Summary: Recordings, Aims and Method
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17
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2.
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Theoretical Matters
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25
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2.1
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Cultural Theories
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28
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HIP and Modernism
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28
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Modernism versus Postmodernism
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31
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HIP as a Mirror of Cultural Change
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35
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Aesthetics and Value Judgment: Beauty and the Sublime
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39
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2.2
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Analytical Theories
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42
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Music Performance Studies
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42
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Empirical and Psychological Studies of Performance
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48
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2.3
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Music Performance and Complex Systems
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51
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Gilles Deleuze and Difference in Music Performance
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52
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Music Performance as Complex Dynamical System
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56
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2.4
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Performance Studies, Oral Culture and Academia
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61
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Research Roles: Performing Music or Analysing Performance?
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62
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Oral Cultures and the Aurality of Music Performance
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65
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Keeping Music Performance in the Aural Domain
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69
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Academia Once More
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71
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2.5
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Conclusion
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73
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3.
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Violinists, Violin Schools and Emerging Trends
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75
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3.1
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Violinists
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76
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3.2
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Violin Schools
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87
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3.3
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The Influence of HIP on MSP
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95
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3.4
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Diversity within Trends and Global Styles
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106
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3.5
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Overall Findings and Individual Cases
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116
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Trends in Particular Movements
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118
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The Importance of Ornamentation
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120
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3.6
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Conclusion
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122
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4.
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Analyses of Performance Features
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127
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4.1
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Tempo Choices
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130
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4.2
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Vibrato
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137
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4.3
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Ornamentation
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146
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Problems of Aesthetics and Notation Practices
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146
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The Role of Delivery
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149
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The Performance of Embellishments
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153
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Diversity—Once More
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166
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Ornamenting or Improvising?
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169
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Summary
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170
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4.4
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Rhythm
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172
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Dotted Rhythms
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173
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Rhythmic Alteration
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181
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Rhythm and Musical Character
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183
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4.5
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Bowing, Articulation and Phrasing
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184
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Bowing and Timbre
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184
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Multiple Stops
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190
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Phrasing and Dynamics
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193
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4.6
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Conclusions
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197
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5.
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Affect and Individual Difference: Towards a Holistic Account of Performance
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201
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5.1
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Differences within the MSP and within the HIP Styles
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202
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The Loure
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202
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MSP Interpretations
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203
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HIP Interpretations
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206
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The Gavotte en Rondeau
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207
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HIP: Wallfisch and Huggett
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208
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MSP: Lev and Girngolts
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210
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Menuet I-II
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211
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5.2
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Multiple Recordings of Violinists
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217
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Gidon Kremer
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218
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Rachel Barton Pine
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221
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Christian Tetzlaff
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223
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Sigiswald Kuijken
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229
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Viktoria Mullova
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230
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5.3
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The Holistic Analysis of Interpretations
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233
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“Subjective” Aural Analysis: The D minor Giga
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234
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“Objective” Measures: The A minor Grave and G minor Adagio
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238
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Perception of Affect
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241
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5.4
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Idiosyncratic Versions and Listeners’ Reactions
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247
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Thomas Zehetmair
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247
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Monica Huggett
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251
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The E Major Preludio
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254
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5.5
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Conclusions
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268
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6.
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Conclusions and an Epilogue: The Complexity Model of Music Performance, Deleuze and Brain Laterality
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273
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6.1
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Summary
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286
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6.2
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Where to from Here?—Epilogue
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287
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The Brain and its Two Worlds
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288
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List of Audio Examples
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297
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List of Tables
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303
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List of Figures
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305
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Discography
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307
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References
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313
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Index
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333
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