aesthetics 7, 10-12, 21-24, 28-45, 48-50, 55, 58, 86, 90, 92-93, 95-96, 99, 104, 121, 127-129, 136, 146-149, 153, 155, 163, 170-172, 185, 198, 201, 226, 246, 269-271, 276-278, 281, 287-288, 296
affect 4, 9, 23, 41, 44, 51, 58, 60, 121, 137, 151-155, 194-195, 198, 201-272, 276-277, 288
A minor Sonata 76, 84, 245, 248
Allegro 222
terraced dynamics of 193
comparison of recordings 157-158, 228
embellishment of 84
legato in 108
melody of 226
tempo of 248
comparison of recordings 119, 238-241, 276
legato in 220
rhythm of 109
variety of interpretation of 167-168
arpeggio (arpeggiating chords) 57, 104, 118, 119, 186-193, 202, 205
articulation 12, 15, 23, 28, 43, 56, 60, 66, 70, 95-96, 120, 128, 129, 136, 163, 167, 171, 172, 184-198, 204, 206-212, 217, 219, 221-223, 234, 237, 253-254, 256, 262-263, 270, 274-277. See also figuration and phrasing
and dotted rhythm 176-181, 198
comparison of HIP and MSP styles 99-118, 223, 250
relationship to bowing 93, 95, 101, 107, 276, 285
style
detailed 101, 197, 211, 221, 263
legato 180, 194-197, 230, 242, 250
refined 88
sustained 276
aurality 4-5, 65-73, 286, 289, 293-294
aural analysis 22, 233, 233-238
aural communication 6, 65-73, 274
aural experience 6, 13, 25, 73, 156
aural perception 5, 30, 58, 65, 157, 163
authentistic style 38, 43, 101, 104, 207, 230, 236, 277
Bach, Johann Sebastian 7, 21, 27, 31, 33, 35, 38, 39, 61, 81, 88, 89, 96, 97-100, 106, 119, 124, 127, 136, 153, 158, 172, 181, 200, 202, 220, 224
Brandenburg Concertos 29, 33, 167, 173
notation practices 148-153, 166, 169, 171, 181, 186, 189
Six Sonatas and Partitas for Solo Violin 2, 10, 11, 13, 15, 18-21, 22, 31, 38, 72, 73-74, 93, 95, 100, 103, 105, 122-126, 127-200, 201-272, 273-282. See G minor Sonata; B minor Partita; A minor Sonata; D minor Partita; C Major Sonata; E Major Sonata
baroque bow. See bowing
Barton Pine, Rachel 18-20, 46, 57, 79, 83, 85, 95, 104-105, 108, 121, 123, 143, 144, 145, 151, 162, 186, 190, 192, 204-205, 212, 218, 221-223, 230, 234, 257-263, 277, 279
Baudelaire, Charles 32
Beethoven, Ludwig van 7, 26, 35, 49, 53, 72, 145, 199, 232, 278, 284
Berlioz, Hector 199
Beznosiuk, Pavlo 104, 116, 117, 135, 137, 154, 155, 162, 185-186, 194
Birnbaum, Johann Abraham 148-149
B minor Partita 83, 84, 219, 231-232
Allemanda 228
Corrente 247
Sarabande 191
embellishment of 15, 84, 156-161, 170, 277
comparison of recordings 232
bodily experience 1, 3-7, 25, 58, 64-69, 137, 153, 246, 271, 274, 284, 296. See also aurality; cognition; and kinaesthesia
bowing 10-11, 12, 20-21, 23, 56, 57, 88-90, 92, 93, 95, 99-104, 107-120, 128, 140, 144-146, 155, 163-167, 171, 173, 180, 184-198, 202, 203-208, 213-217, 222-223, 230-232, 234-241, 244, 248-250, 257-268, 270, 276-277, 285
Baroque bow 18, 21, 56, 83, 84, 85, 95, 104, 105, 110, 117, 124, 184, 185, 190, 232, 279. See also period instruments
style
legato 10, 105, 108, 118, 176, 180, 192-193, 194-197, 203-206, 212, 213, 220, 229, 238, 249
lifted 77, 104, 119, 140, 184, 192, 203, 235, 248, 250, 262, 275
sustained 108, 119, 178, 206, 226, 230, 245, 281
varied 41, 57, 84, 88, 101, 107, 117, 145, 186, 205, 231, 236, 240, 241, 249, 263
weighted 58, 101, 119, 194, 206, 250, 276
Brahms, Johannes 72, 145, 199, 278
brain function 22, 24, 65, 69, 153, 288-296. See also cognition and music psychology
Brendel, Alfred 74
Brodsky, Adolph 87
Burney, Charles 41
Buswell, James 79, 83, 85, 91, 100, 108, 116, 117, 140, 151, 184, 190, 194
Butt, John 12, 30, 32, 38, 95, 107, 148, 282
Casals, Pablo 8
Cilliers, Paul 52, 57, 60-61, 274, 275
C Major Sonata 84, 118-119, 248
cognition 3, 5-6, 25, 42, 66, 69, 271, 274. See also brain function and music psychology
complex systems 2, 14, 17, 22, 25, 52, 56-61, 74, 270, 279-280, 273-287, 291-294
Cook, Nicholas 2, 7, 42, 50-52, 177, 193, 200, 273, 280, 285
Costello, Elvis 1
DeLay, Dorothy 77, 82, 90-93, 97, 105
Deleuze, Gilles 22, 25, 52-56, 61, 123, 201, 247, 268, 283, 286-288, 294
Descartes, René 31
D minor Partita 76, 84, 85, 233
Ciaccona
notation of 189
Giga 118, 131, 193, 231, 247, 268, 270
HIP characteristics of 106
Sarabanda 144, 162, 223, 230, 248
Donington, Robert 37
dynamics 5, 41, 66, 100-101, 108-109, 116-120, 129, 137-140, 167, 171, 191-198, 217, 219-225, 248-250, 257-268, 270, 274, 276-278
comparison of recordings 233-240
complex dynamical systems. See complex systems
fluctuation of 204, 211, 228, 248-249, 258, 262
shifting of 140, 153, 172, 183, 189, 205
style
arched 203
consistent 230, 245, 257, 263, 267
exaggerated 116
expressive 117
terraced dynamics 21, 193, 214, 234-238, 258, 262
early music movement 12, 27, 36, 77, 80, 93-95, 102, 170, 279-282
Ehnes, James 18, 79, 86, 96-97, 100, 105, 108, 144, 151, 184, 190, 192, 193, 194, 200, 204, 254, 257, 280
E Major Partita 84, 118-119, 129, 153-155, 179-183, 202-216, 217, 233, 254-268
Bourée 248
Gavotte en Rondeau 118, 247, 254, 270
comparison of HIP and MSP versions 207-211
HIP characteristics of 106
tempo of 252
HIP characteristics of 106
comparison of HIP and MSP versions 202-207
dotted rhythm of 179
embellishment of 154, 156, 281
Menuets 119, 123, 161, 183, 219, 222, 248, 269, 270
comparison of HIP and MSP versions 211-217
dotted rhythm of 181
embellishment of 281
comparison of recordings 254-268
MPS characteristics of 106
tempo of 131, 136, 251, 254-268, 277
terraced dynamics of 193
reworking for lute 152
embellishment 15, 41, 81, 84, 95, 103, 104, 117-118, 121, 124, 146-163, 169-172, 198, 199, 206, 253, 276, 277, 281. See also ornamentation
emotion 32, 44, 63, 127, 136-140, 152, 194, 241-247, 250-251, 271, 274, 287, 292, 289-293
emotional expression 101, 108, 137, 241-247, 274
emotional memory 65
Faust, Isabelle 18, 79, 83-84, 95, 104-106, 121, 123, 124, 145, 154-155, 161-162, 169, 171, 183, 190, 193, 199, 206-207, 257-258, 279
figuration 70, 152, 153, 195, 210, 212, 254-268. See also articulation
Fischer, Julia 18, 77, 78, 85, 96-98, 100, 105, 108, 116, 118, 140, 151, 180, 184, 190, 194, 204, 284
Gähler, Rudolf 18, 21, 100, 135, 144, 186, 190, 212
Galamian, Ivan 80, 82, 83, 89-93, 97, 103, 105
Gibson, James 6
Gigli, Beniamino 8
G minor Sonata 84, 85, 100, 223, 225-227, 233, 245, 247
Adagio 85, 109, 119, 129, 238-247, 248, 253, 268, 276
opening chord 190
comparison of recordings 185-189
nuance in 123
Siciliana 230
Godøy, Rolf 5
Gringolts, Ilya 18, 77-78, 95, 100, 104, 121, 123-126, 135, 144, 154-160, 163, 171-172, 190, 206, 208, 211-217, 248, 251, 257, 277, 279
Gritten, Anthony 68
Guattari, Felix 55-57, 123, 201, 247, 287-288
Hahn, Hilary 18, 79, 86, 90, 96, 97-98, 100, 105, 108, 145, 184, 195, 198, 200, 204, 212, 254, 280, 283
Hanslick, Eduard 40
harmony 21, 23, 44, 67-68, 95, 99, 106-108, 118, 123, 140, 144, 149, 155-158, 171, 173, 181-184, 189, 192, 195, 203, 210, 214, 216, 222, 225-226, 235-237, 246, 248, 252-254, 256, 263, 276, 290
harmonic-metric groups 108, 183, 184
Harnoncourt, Nikolaus 20, 27, 29, 82, 94, 105, 199, 227, 269
Haskell, Harry 12
Heifetz, Jascha 8, 46, 87, 88, 97, 175, 255
historically informed performance (HIP) 43-44, 52, 53, 55, 57, 77-87, 130-137, 154, 161-162, 166
compared to MSP 15, 18, 20-22, 52, 61, 95-126, 127-200, 268-270, 275
evolution of 33-41, 57, 72, 73, 277-284
Hogwood, Christopher 33, 94, 169
holistic experience 22-24, 59, 68, 92, 140, 153, 176, 201-272, 275-277, 287, 289-296
Holloway, John 104, 108, 160, 181, 182, 186-188, 190, 192, 257-263, 277
Huggett, Monica 15, 79, 80-82, 104, 121, 123, 135, 140, 151, 154, 162, 166, 186, 190, 192, 195, 206-216, 229, 247, 251-269, 270
Ibragimova, Alina 18, 21, 77, 79, 95, 104, 131, 151, 166, 190-192, 197, 199, 204, 254, 279
imagination 1, 7, 16, 44, 49, 54, 66, 85, 107, 169, 223
improvisation 35, 46, 97, 121, 146-152, 170, 239, 246, 255, 280, 288, 293, 295
improvisatory freedom 119, 121, 171, 240-241, 246, 276
improvisatory style 85, 117-119, 152, 163, 169-170, 173, 226, 241, 249, 253-254
Katz, Mark 10
Khachatryan, Sergey 18, 77-79, 96-99, 100, 108, 116, 118, 151, 180, 184, 192, 194, 199, 284
kinaesthesia 3, 64, 65, 137. See also aurality; bodily experience and cognition
Koopman, Ton 80
Kremer, Gidon 20, 79, 82, 96, 100, 108, 117, 135, 143, 177, 186-189, 190, 193, 204, 212, 214, 218-222, 234, 237, 244, 249, 254, 255, 262-263, 267, 269, 277, 278
Kreutzer, Rudolphe 65
Kuijken, Sigiswald 18, 20, 79, 80, 81, 101-104, 108, 116, 143, 155, 190, 206, 212, 217-218, 229-230, 234, 246, 254-257, 264-267, 276, 277
Kuijken, Wieland 81
Latour, Bruno 62-65, 73, 270, 287, 288, 294, 295
Leech-Wilkinson, Daniel 200, 242, 268
legato. See articulation and bowing
Lennon, John 4
Leonhardt, Gustav 27, 29, 43, 49, 77, 80, 81, 93, 104, 218, 230
Lev, Lara 79, 82, 104, 116-117, 144, 184, 204, 205, 208, 210-212, 254
Lewin, David 3
Luca, Sergiu 18, 73, 80, 103-104, 121, 154-158, 171, 175, 181, 182, 186-187, 189, 193, 206, 212, 229, 256
Lyotard, Jean-François 34
mainstream performance (MSP) 13, 53, 55, 56, 73, 86, 201-247
compared to HIP. See historically informed performance (HIP)
Matthews, Ingrid 83, 86-87, 104, 181, 183, 187-189, 190, 192, 256, 263-267, 277
McGilchrist, Ian 24, 71, 288-296
McLaughlin, John 81
melody 11, 14, 21, 32, 44, 100, 106, 121, 140, 144, 147-151, 154-158, 169, 171, 179-182, 185, 190, 192-193, 195-197, 203-204, 214, 225-226, 240-242, 251-253, 263, 276
melodic embellishment 149, 153, 163, 170-171
memory 1, 3, 7, 16, 65-67, 69, 72, 274, 293
Mendelssohn, Felix 199
Merleau-Ponty, Maurice 3, 5, 290
Milstein, Nathan 46, 77, 83, 87-88, 97, 156, 229
modernism 14, 31-42, 52, 59, 62
Mozart, Leopold 107
Mozart, Wolfgang Amadeus 12, 49, 80, 83, 89, 199, 220
MSP. See mainstream performance
Mullova, Viktoria 20, 79, 83, 95, 99-100, 103-104, 108, 116, 117, 121, 123, 124, 140-141, 145, 151, 154-158, 163, 169, 171, 178, 181-182, 184, 186, 190-193, 207, 219, 223, 230-233, 236-238, 269, 277, 279, 283
music psychology 4-6, 25-26, 42, 47-49, 64-66, 96, 128, 242-247, 274, 289. See also brain function and cognition
Neumann, Frederick 37, 148, 152, 166, 173, 189
notes inégales. See rhythm
oral cultures 24, 61, 65-73, 290, 294
ornamentation 12, 15, 23, 30, 35, 43, 50, 56, 70, 85, 95, 100, 104, 107, 116-118, 122-125, 128, 143, 146-172, 173, 182-183, 189, 193, 198, 199, 202-207, 217, 220-221, 222, 230-231, 241, 248, 251, 252, 275, 277, 281, 286. See also embellishment
Ornoy, Eitan 20, 75, 124, 268, 279
period instruments 12, 21, 27, 37, 39, 43, 56, 73, 79, 80, 82, 84-85, 93-95, 98-99, 101-106, 110, 117-118, 120, 124, 154, 184, 229, 230, 251
period orchestras 80, 82, 94, 117
Perlman, Itzhak 32, 39, 77, 79, 82, 96, 100, 105, 108, 143, 184, 189, 190-192, 194, 204-205, 212, 244-246
phrasing 9, 23, 50, 60, 66, 79, 97-101, 106, 108-109, 116-118, 119-120, 140, 180, 183, 184, 193, 198, 203-205, 207, 217, 222-223, 225, 228, 230-231, 251-253, 253, 276-277, 286. See also articulation
style
“emotionalized” 108
expressive 269
HIP-style 116-117, 193-197, 222-223
long 10, 21, 95, 99, 101, 103, 106, 108, 118, 119, 194, 222, 275
subjective nature of 109-110, 128
playfulness 41, 161-163, 171, 183, 281, 296
Podger, Rachel 15, 79, 83, 86, 101, 104, 108, 121, 123, 154, 161, 171, 181, 186-189, 206, 212, 229, 257-262
postmodernism 28-42, 52, 59, 62, 95, 282
Poulet, Gérard 18, 77, 96, 100, 108, 144, 184, 195, 204, 257
psychology. See music psychology
rhythm 10, 15, 21, 41, 44, 54, 61, 66, 79, 95, 100, 101, 106-109, 116-120, 150, 153-158, 163, 171-184, 192, 198, 202-203, 206, 212, 222, 225, 240, 244, 249, 252, 276
dotted rhythm 23, 37, 43, 107, 118, 128, 129, 158, 173-180, 192, 202
rhythmic flexibility 23, 30, 35, 81, 103, 107, 109, 116, 128, 173, 182-183, 253-254, 278
rhythmic projection 118, 120, 184, 250
Ricci, Ruggiero 18, 76, 100, 194
Richter, Karl 32
Richter, Sviatoslav 74
rubato. See tempo
Schenker, Heinrich 1
Schmid, Benjamin 83, 95, 100-101, 104, 117, 184, 192, 257, 258, 267
Schröder, Jaap 10, 18, 76, 77, 88, 100, 101-104, 116, 136, 151, 156, 161, 185, 194, 198, 206, 212, 256, 263, 279
Shumsky, Oscar 18, 32, 76, 96, 100, 108, 144, 151, 184, 190-197, 204-205, 212, 231, 257
St John, Lara 18, 79, 83, 85, 104, 108, 140, 161-162, 183, 184, 190, 193, 254, 257-268
Stravinsky, Igor 28, 33, 35, 193, 284
Taruskin, Richard 9, 12, 13, 27-40, 43, 71, 97, 124, 282
tempo 9, 15, 28, 44, 56, 57, 60, 66, 81, 84, 100, 108, 116-118, 120, 128-137, 173, 176-180, 189, 192, 194-198, 202-217, 219, 230, 231, 234-241, 244, 247-250, 252-253, 255-268, 269, 270, 276-277, 286
choice of 23, 106, 128-137, 247
flexibility of 35, 104, 128, 228, 241, 249
fluctuation of 204, 209-211, 213-217, 219, 238, 240, 248, 255-268, 277
perception of 15, 61, 131, 262, 276
rubato 30, 107, 116, 117-118, 118, 120, 209, 212, 214, 223, 241
steadiness of 9, 10, 101, 195, 263, 267
terraced dynamics. See dynamics
Tetzlaff, Christian 20, 21, 79, 83-84, 95, 104-105, 108, 116, 117, 121, 123, 135, 143, 155, 160, 184, 186-189, 194, 204-206, 212, 218, 223-229, 230, 234-238, 254, 269
timbre 11, 23, 60, 66, 82, 119-120, 172, 184-190, 192, 250, 252
timing 15, 23, 95, 107, 109, 128-129, 140, 163, 171, 172, 183, 198, 209, 212, 214-217, 256, 263, 270, 276
Tognetti, Richard 15, 21, 79, 83, 84-85, 95, 104-105, 108, 121, 123, 124, 135, 155, 160, 169, 171, 181, 182, 186, 190, 205, 212
“Urtex mentality” 46, 53, 96, 172, 275
vibrato 10-11, 21, 23, 35, 85, 91, 95, 99, 100, 101, 104, 106, 108, 116-118, 119, 129, 137-146, 153, 166-167, 194, 197, 199, 204, 219, 223, 226, 229, 248-251, 269, 274, 278
Vivaldi, Antonio 35
Wallfisch, Elizabeth 79, 81, 104, 108, 151, 154, 161-163, 190, 197, 206-210, 212, 255, 257-267, 277
Wen, Eric 10
Windsor, Luke 6
Zbikowski, Lawrence 6
Zehetmair, Thomas 21, 79, 83, 95, 104-105, 116-117, 135, 143, 184, 190-195, 195, 203-205, 205, 212, 247-251, 257-258, 268, 270
