Practice in Context

Historical Performance Research

Historical performance research is undergoing a transformation as the research from different centers intersects in new ways. Practice in Context reflects this vibrant, diverse, and evolving field.

The Historically Informed Performance (HIP) Movement

The HIP movement first dipped its toe into the nineteenth century by tackling the symphonies of Beethoven in the nineteen eighties. Since then, there has been a burgeoning of performances and recordings of nineteenth- and early twentieth-century repertoire on period instruments. But the advance of HIP into post-Classical repertoires has exposed the specific challenges nineteenth-century historical performance styles present to a 'period' movement that is characterised by crisp, clean, light playing.

Historically evidenced nineteenth-century style remains elusive to many professional performers even after four decades of marketing 'period' performances of this repertoire. A real transformation of professional post-Classical HIP will only be possible if scholars and performers start to find new ways to inter-relate, which is central to the work of many of the contributors to this book.

Contributors and Perspectives

Editors Claire Holden, Eric F. Clarke, and Cayenna Ponchione-Bailey have brought together a diverse group of international contributors to present different perspectives and offer new possibilities to performers, scholars, and scholar-performers.

Topics in Nineteenth-Century HIP Practices

The book addresses a diverse range of pressing and exciting topics in nineteenth-century historically informed practices, focusing on new kinds of research that move away from traditional treatise archaeology. These include multi-disciplinary approaches, such as the use of empirical methods in the study of present-day HIP performance practices, and increased contextualisation through a closer relationship with cultural and social musicology.

Goals of Practice in Context

Practice in Context brings together scholars and performer/scholars who are interested in how historical research can contribute to greater understanding of the musical priorities and artistic decision-making processes when performing nineteenth-century pieces.