This course will introduce students to commonly encountered performance styles and identify the differences between them.  Pre-Romantic values will be used as an inspiration for the examination of Romantic artistic assumptions and motives associated with performance and repertoire.  Werktreue, the Urtext imperative, formality in ritualized performance, ‘authenticity' as an industry standard, expressivity and phrasing based on rhetorical gesture, affect, descriptive and prescriptive musical notation, and the role of the interpretative conductor will be discussed in order to identify values that have given rise to performance styles and repertoire of the past.  A broad range of recorded repertoire will be introduced highlighting the breadth of performance styles and their application.  Students will be introduced to key literature and primary sources including period tutors and instructional methods.  Students will be encouraged to mediate (through performance) in a richly contextualised way between an historic past documented in the musical score of a work and its correlative aesthetic present.  The course will almost certainly lead to a reassessment of both received and personal interpretative responses to repertoire of the Baroque, Classical and Romantic periods.

This course will further develop the students understanding of Historically Inspired Performance and broaden their understanding of the current state of research and practice in HIP.  Students will review selected key literature and primary sources including period tutors and instructional methods.  Further repertoire will be introduced highlighting the breadth of HIP styles and their application. Students will be encouraged to mediate (through performance) in a richly contextualised way between an historic past documented in the musical score of a work and its correlative aesthetic present.  The course will enable students to reassess both received and personal interpretative responses to repertoire of the Baroque, Classical and Romantic periods.

By the end of this course, you should be able to:

1. demonstrate a knowledge of the developments in Historically Inspired Performance that led to the current state of the performance conventions;
2. demonstrate the ability to listen in a critical and discriminatory fashion to live and recorded performances
3. apply these learnt practices to your own performances.

• Submission of critical review and analysis diary  - 1500 words (40%), [Learning Outcomes 1-2]
• Participation in HIP workshop (10%), [Learning Outcomes 1-3]
• A 3000 word essay on a topic related to HIP OR a lecture recital of 30 mins including the complete performance of a selected work of 3 - 5 minutes duration. (50%), [Learning Outcomes 1-3]

This course will consist of three components:

1. A series of weekly one hour lectures;
2. Attendance at a weekly HIP critical listening seminar of one hour;
3. Attendance at four scheduled HIP workshops of 2 hours duration.

Departmental consent

An sound understanding of issues in classical music performance and music history is highly desirable.

DVD: Bilson, Malcolm (2005); Knowing the Score, Cornell University.