In this interview granted to Marcus Held, Clive Brown discourses about his career dedicated to the historical investigations related to the 18th and 19th centuries music, with emphasis on past performance practices. Brown, who witnessed the consolidation of the Early Music in England, recalls the processes of (re)discovery not only of the past repertoire, but also of the musical thought. With particular interest in musical notation and its intellectual processes, the researcher points that the approach to the score has definitely changed throughout the centuries and, from that, many challenges are posed for the activity of contemporary musical editing
This article proposes to identify aesthetic currents and key events that affected music instrumental...
Accounts of life in the music profession by orchestral woodwind players have often been neglected in...
This thesis argues that the nature of the performance of new music has evolved. Its arguments and ev...
Since Clive Brown’s 1991 accusation that many twentieth-century manifestations of historical perform...
Jackson discusses Brown\u27s contributions to the field of Performance Practice in Musicology
Clive Brown discusses this 2014 publication, edited by Roberto Illiano and Michela Niccolai. Illiano...
Jackson critiques and discusses Haynes\u27 book on the history of early music performance
In an interview, fortepianist Malcolm Bilson discusses performing on early pianos, recording Mozart'...
This project is an outgrowth of a larger project that involves the eventual compilation of a series ...
As it comes to the act of creation, performing musicians claim a rather specific role and position c...
Roland Jackson discusses and critiques the 2009 work of Maureen Epp and Brian E. Power. Epp, Maureen...
This study examines sets of original English performing material for concerted music – for instrumen...
Michael Musgrave discusses Clive Brown, Neal Peres da Costa, and Kate Bennett Wadsworth\u27s 2015 wo...
Early music performance in its broadest capacity presents a compelling case of being something in th...
Author Institution: University of AmsterdamIn the last two decades an important shift has occurred i...
This article proposes to identify aesthetic currents and key events that affected music instrumental...
Accounts of life in the music profession by orchestral woodwind players have often been neglected in...
This thesis argues that the nature of the performance of new music has evolved. Its arguments and ev...
Since Clive Brown’s 1991 accusation that many twentieth-century manifestations of historical perform...
Jackson discusses Brown\u27s contributions to the field of Performance Practice in Musicology
Clive Brown discusses this 2014 publication, edited by Roberto Illiano and Michela Niccolai. Illiano...
Jackson critiques and discusses Haynes\u27 book on the history of early music performance
In an interview, fortepianist Malcolm Bilson discusses performing on early pianos, recording Mozart'...
This project is an outgrowth of a larger project that involves the eventual compilation of a series ...
As it comes to the act of creation, performing musicians claim a rather specific role and position c...
Roland Jackson discusses and critiques the 2009 work of Maureen Epp and Brian E. Power. Epp, Maureen...
This study examines sets of original English performing material for concerted music – for instrumen...
Michael Musgrave discusses Clive Brown, Neal Peres da Costa, and Kate Bennett Wadsworth\u27s 2015 wo...
Early music performance in its broadest capacity presents a compelling case of being something in th...
Author Institution: University of AmsterdamIn the last two decades an important shift has occurred i...
This article proposes to identify aesthetic currents and key events that affected music instrumental...
Accounts of life in the music profession by orchestral woodwind players have often been neglected in...
This thesis argues that the nature of the performance of new music has evolved. Its arguments and ev...