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A vividly illustrated, richly anecdotal account of over 150 years of music at Wesleyan University

Musical groups --- Ensembles (Musical performance groups) --- Groups, Musical performance --- Musical performance ensembles --- Musical performance groups --- History. --- Wesleyan University (Middletown, Conn.) --- Musical groups.

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Written by a leading authority and artist of the historical transverse flute, The Notation Is Not the Music offers invaluable insight into the issues of historically informed performance and the parameters-and limitations-of notation-dependent performance. As Barthold Kuijken illustrates, performers of historical music should consider what is written on the page as a mere steppingstone for performance. Only by continual examination and reexamination of the sources to discover original intent can an early music practitioner come close to authentic performance.

Performance practice (Music) --- Musical performance practice --- Performing practice (Music) --- Music --- Performance --- Musical performance --- Performance of music --- Performance. --- Historisch --- Uitvoeringspraktijk

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Aviation extended the horizon of international touring across Asia and the Pacific in the 1950s and 1960s. Nightclubs in Hong Kong, Manila, Melbourne, Singapore, Sydney, Tokyo, and Taipei presented an international array of touring acts. This book investigates how this happened. It explores the post-war formation of the Asia Pacific region through international touring and the transformation of entertainment during the ‘jet age’ of aviation. Drawing on archival research across the region, Bollen investigates how touring variety forged new relations between artists, audiences, and nations. Mapping tours and tracing networks by connecting fragments, he reveals how versatile artists translated repertoire in circulation as they toured, and how entrepreneurial endeavours harnessed the production of national distinction to government agendas. He argues that touring variety on commercial circuits diversified the repertoire in regional circulation, anticipating the diversity emerging in state-sanctioned multiculturalisms, and driving the government-construction of national theatres for cultural diplomacy. Long before the Asian-intercultural theatre wave of the 1980s, Jonathan Bollen’s deeply researched study shows how touring variety acts and cabaret shows were already remaking the political and cultural economies of the Asia-Pacific. Bollen’s socio-historical analysis explores variety in the Cold War era of popular music, accessible jet travel, live television, and the paradoxical dynamics of racialized containment policies and economic expansionism. Peter Eckersall, The Graduate Center CUNY, USA. Variety theatre, cabaret and dance flourished in the renovated industries of postwar commercial entertainment. From Melbourne to Manila and Tokyo, comics, musicians, and dancers informed popular imaginaries in nightclubs, stage spectaculars, radio, and television. These excitingly mobile cultural energies were also key agents of popular Cold War diplomacy in the region, and Bollen’s ground-breaking study shows how television, the civilian aeroplane, and the cruise liner all became cultural ‘containers’ delivering to the various peoples of the Asia Pacific region the thrills of modern cosmopolitan tourism. Veronica Kelly, FAHA, University of Queensland, Australia. Bollen provides fresh and original insights on issues of migration, exile, and place-making in music, popular entertainment, and performance. Interweaving the intricate narratives of artists from the Asia Pacific region in the 1950s and the 1960s, Bollen also directs us to reflect on how ‘touring variety’ in the mid-twentieth century reverberates in the present. … This is a must-read, not only for theatre and performance scholars, but also for historians, ethnomusicologists, and researchers in the area and cultural studies. Sir Anril Pineda Tiatco, University of the Philippines Diliman, Philippines.

Musical groups. --- Ensembles (Musical performance groups) --- Groups, Musical performance --- Musical performance ensembles --- Musical performance groups --- Theater—History. --- Theater. --- Performing arts. --- Theatre History. --- Global/International Theatre and Performance. --- Performing Arts. --- Show business --- Arts --- Performance art --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Theater --- Global and International Theatre and Performance. --- Theatre and Performance Arts. --- History.

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Der Verfasser ist Hans-Christian Günther Akademischer Oberrat und apl. Professor für Klassische Philologie an der Albert-Ludwigs-Universität Freiburg, Vizepräsident der ,International Association for Comparative Studies of China and the West', Herausgeber der Reihen ,Studies on the Interaction of Art, Thought and Power' (IATP, Brill), Mitherausgeber der Reihen ,Studia Classica et Mediaevalia' (Bautz) und ,Poetry, Music & Art' (Bautz). Neben zahlreichen Arbeiten zur lateinischen und griechi schen Literatur und Philosophie (u.a. Brill's Companion to Propertius und Brill's Companion to Horace) Arbeiten zur interkulturellen Philosophie, Ethik und Politik. Verfasser zahlreicher Versübersetzungen aus dem Lateinischen, Italienischen, Neugriechischen, Georgischen und Chinesischen. InhaltsverzeichnisVorwort'Historische' Aufführungspraxis:Historizität vs. Authentizität - ein ethisches Problem?I Ethik und Kunst: Der KontextII Verschiedene Aspekte Ethik - KunstIII Der Künstler und sein Umgang mit Kunst, der ausführende MusikerIV Exkurs: Das Konzept der Autonomie der Kunst in der europäischen KulturIVa Die Antike: AlexandriaIVb Rom, die augusteische ZeitIVc Der Freie Künstler der NeuzeitV Der gesellschaftliche Platz von Musik von Bach zur Wiener KlassikVI Historizität in der Aufführungspraxis von Musik das Verhältnis Historizität - AuthentizitätVII Die Anfänge der historischen AufführungspraxisVIII Hans Pfitzners 'Werk und Wiedergabe'IX Der Paradigmenwechsel in der Aufführungspraxis zu Beginn des 20. Jhs., Ferruccio BusoniX Der NeoklassizismusXI Die sterile Aufführungs- und Konzertpraxis nach dem zweiten WeltkriegXII Neue Ansätze in der historischen AufführungspraxisXIII Divergierende Aufführungen eines barocken Klavierwerks Scarlatti L 29 - K 449XIV Der Weg zu einer individuelleren Tonsprache und die musikalische Praxis: Subjektivität und EmpathieXV Zwei Beispiele divergierender Interpretationen nachbarocker Musik: Kreislers 'Liebesleid'MozartinterpretationXVI Noch einmal: Historizität vs. Authentizität:Alte Klaviermusik auf dem modernen FlügelXVII Wo liegt die Grenze interpretatorischer Freiheit?'Hören auf die Musik'BibliographieNamensregisterBildnachweiseAppendix: Das Programm des Workshops ReihePoetry, Music and Art - Band 4.

Performance practice (Music) --- Music --- Musical performance practice --- Performing practice (Music) --- History. --- Performance --- History and criticism

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Organisational theorists have become increasingly interested in the creative industries, where practices that are commonplace are of particular interest to organisations in other sectors as they look for new ways to enhance performance. Focusing on the music industry, this book sets up a unique dialogue between leading organisational theorists and music professionals. Part I explores links between organisation theory and the creative industries literature, concentrating on practices of organising and knowledge mobilisation, followed by an in-depth discussion of key theoretical concepts by subject experts. Part II provides a diverse range of 'tales from the field', including examples from classical orchestras, folk, indie and punk. The concluding chapter examines the shared dialogue to reveal what practice in the musical field can learn from organisational theory, and vice versa. This innovative book will interest graduate students and researchers in the fields of organisation studies, music management and the creative industries.

Music --- Organization. --- Management. --- Administration --- Industrial relations --- Organization --- Organisation --- Management --- Musical performance --- Performance of music --- Performance.