The study of historically-informed post-Classic era Nineteenth century performance practice (i.e. the varying conventions of performance that appear to have been prevalent among knowledgeable performers from the late-1820s to 1900) is an essential key to our understanding the incomplete record represented by post-Classic era Nineteenth century musical notation.  The course is designed for graduate music students who, within the context of post-Classic era Nineteenth century repertoire, wish to mediate in a richly contextualised way (either in performance, or within the sole context of musicological research) between an historic past documented in the musical score of a work and its correlative aesthetic present.

The course will include an examination of issues arising from historically-informed post-Classic era Nineteenth century performance practice, such as for example, accentuation, articulation, tempo, ornamentation, rubato, technique, notation, affect, and resultant conceptual, interpretative and aesthetic implications.

This will almost certainly lead to a reassessment of both received and personal interpretative responses to post-Classic era Nineteenth century repertoire.

A historically-informed performance edition of a post-Classic era Nineteenth century work: 50%.

AND

One 3000 word essay: 50%;

OR

One class lecture-demonstration of ca. 40minutes duration, to be presented on one of the following dates: August 16, 17, 18, 19: 50%;

24 hours of lectures (please contact course coordinator re class schedule)

Required reading:

Brown, C. (1999).   Classical & Romantic Performing Practice 1750-1900.  Oxford: Oxford University Press.

Hudson, R. (1994).  Stolen Time: The History of Tempo Rubato.  Oxford: Clarendon Press.