MUSS5331M
Researching Performance Module Reading List

Select Bibliography

Finding Sources

Barlow, Harold, and Sam Morgenstern (eds.), A Dictionary of Musical Themes (London: Ernest Benn, 1950)

Crabtree, P.D. & D.H. Foster, Sourcebook for Research in Music (Bloomington: Indiana University Press, 1993) 

Duckles, Vincent, and Ida Reed, Music Reference and Research Materials: An Annotated Bibliography, 5th edn. (London: Prentice Hall, 1997) 

Foreman, Lewis (ed.), Information Sources in Music (Munich: K.G.Sauer, 2003) 

Steib, M. (ed.), The Reader’s Guide to Music: History, Theory, Criticism (Chicago: Fitzroy Dearborn, 2000) 

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Sources, Editions, and the Challenges of Interpretation

Peter Holman, 'Notation and Interpretation', in A Performer's Guide to Music of the Baroque Period, series editor Anthony Burton (London: ABRSM, 2002), pp. 21–48 OCR REQUESTED BY LIBRARY (IK 02/03/2021)  

Clifford Bartlett, 'Sources and Editions', in A Performer's Guide to Music of the Baroque Period, series editor Anthony Burton (London: ABRSM, 2002), pp. 107–122  OCR REQUESTED BY LIBRARY (IK 02/03/2021) 

Cliff Eisen, 'Notation and Interpretation', in A Performer's Guide to Music of the Classical Period, series editor Anthony Burton (London: ABRSM, 2002), pp. 15–38 OCR REQUESTED BY LIBRARY (IK 02/03/2021)   

Barry Cooper, 'Sources and Editions', in A Performer's Guide to Music of the Classical Period, series editor Anthony Burton (London: ABRSM, 2002), pp. 91–102 OCR REQUESTED BY LIBRARY (IK 02/03/2021) 

Clive Brown, 'Notation and Interpretation', in A Performer's Guide to Music of the Romantic Period, series editor Anthony Burton (London: ABRSM, 2002), pp. 13–28   OCR REQUESTED BY LIBRARY (IK 02/03/2021) 

Robert Pascall, 'Sources and Editions', in A Performer's Guide to Music of the Romantic Period, series editor Anthony Burton (London: ABRSM, 2002), pp. 91–102 OCR REQUESTED BY LIBRARY (IK 02/03/2021)  

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Working with Recordings

Banks, Paul, ‘Aspects of Mahler’s Fifth Symphony: Performance Practice and Interpretation’, The Musical Times 130.1755 (May 1989), 258-65

Bayley, Amanda, ‘Multiple takes: using recordings to document creative process’ in Recorded Music: Performance, Culture and Technology, ed. by Amanda Bayley (Cambridge: CUP, 2009), 206-24

Bowen, José A., ‘Mendelssohn, Berlioz and Wagner as Conductors: the Origins of the Ideal of “Fidelity to the Composer”, Performance Practice Review, 6.1 (Spring 1993), 77-88

 ---, ‘Performance Practice Versus Performance Analysis: Why Should Performers Study Performance?’, Performance Practice Review, 9.1 (Spring 1996), 16-35

Breckbill, David, ‘“Wagner on Record”: Re-evaluating Singing in the Early Years’, in Wagner in Performance, ed. by Barry Millington and Stewart Spencer (New Haven: Yale UP, 1992), 153-67

Cho, Jung Yoon, 'Re-interpreting Brahms Violin Sonatas:Understanding the Composer's Expectations' (PhD thesis, University of Leeds, 2017) http://etheses.whiterose.ac.uk/17924/

Cook, Nicholas, ‘The Domestic Gesamkunstwerk, or Record Sleeves and Reception’, in Composition-Performance-Reception; Studies in the Creative Process in Music, ed. by Wyndham Thomas (Aldershot: Ashgate, 1998), pp. 105-17

Cottrell, Stephen, ‘The Rise and Rise of Phonomusicology’, in Recorded Music: Performance, Culture and Technology, ed. by Amanda Bayley (Cambridge: CUP, 2009), 15-36

Day, Timothy, A Century of Recorded Music: Listening to Musical History (New Haven/London: Yale University Press, 2000)

Eisenberg, Evan, The Recording Angel: Explorations in Phonography (New York: McGraw-Hill, 1987)

Garst, Marylin M., ‘How Bartók Performed his Own Works’, Tempo 155.12 (1985), 15-21

Grainger, Percy, ‘Collecting with the Phonograph’, Journal of the Folk Song Society, 3.12 (1908), 147-162

Harker, Brian, Louis Armstrong’s Hot Five and Hot Seven Recordings (Oxford: OUP, 2011)

Holden, Raymond, ‘Richard Strauss: the Don Juan Recordings’, Performance Practice Review, 10.1 (1997), 11-30

Johnson, Peter, ‘Illusion and aura in the classical music recording’, in Recorded Music: Performance, Culture and Technology, ed. by Amanda Bayley (Cambridge: CUP, 2009), 37-51

---, ‘The Legacy of Recordings’, in Musical Performance: A Guide to Understanding, ed. by John Rink (Cambridge: CUP, 2002), pp. 197-212

Kolkowski, Aleks, Duncan Miller and Amy Blier-Carruthers, ‘The Art and Science of Acoustic Recording: Re-enacting Arthur Nikisch and the Berlin Philharmonic Orchestra’s landmark 1913 recording of Beethoven’s Fifth Symphony’, Science Museum Group Journal, Spring 2015 (http://journal.sciencemuseum.ac.uk/pdf/article/3464/the-art-and-science-of-acoustic-recording)

Komara, Edward M., The Dial Recordings of Charlie Parker (Westport: Greenwood Press, 1998)

Korman, Pamela, ‘Intention, Creative Variability and Paradox in Recorded Performances of the Piano Music of Ravel’, (DPhil thesis, Concordia University, 1996) https://spectrum.library.concordia.ca/248/1/NQ25940.pdf

Leech-Wilkinson, Daniel, The Changing Sound of Music: Approaches to Studying Recorded Musical Performances (2009): http://www.charm.rhul.ac.uk/studies/chapters/intro.html 

Leiken, Anatole, ‘Piano-roll recordings of Enrique Granados: A study of a transcription of the composer’s performance’, Journal of Musicological Research, 21.1-2 (2002), 3-19

---, ‘The Performance of Scriabin’s Piano Music: Evidence from the Piano Rolls’, Performance Practice Review 9.1 (1996), 97-113

Peres Da Costa, Neal, Off the Record: Performing Practices in Romantic Piano Playing (Oxford: OUP, 2012)

Philip, Robert, Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950 (Cambridge: CUP, 1992)

---, Performing Music in the Age of Recording (New Haven: Yale UP, 2004) 

---, ‘The Recordings of Edward Elgar (1857-1934): Authenticity and Performance Practice’, Early Music, 12.4 (November 1984), 481-5, 487-9

Potter, Sarah, ‘Changing Vocal Style and Technique in Britain during the Long Nineteenth Century’ (PhD thesis, University of Leeds, 2014) http://etheses.whiterose.ac.uk/8345/1/S%20Potter%20University%20of%20Leeds%20May%202014.pdf

Rink, John, ‘Analysis and (or)? Performance’, in Musical Performance: A Guide to Understanding, by John Rink (Cambridge: CUP, 2002), pp. 35-58

Seletzky, Robert E., 'The Performance Practice of Maria Callas: Interpretation and Instinct', Opera Quarterly, 20.4 (Autumn 2004), 587-602

Tackley, Catherine, ‘Jazz Recordings as Social Texts’, in Recorded Music: Performance, Culture and Technology, ed. by Amanda Bayley (Cambridge: CUP, 2009), pp. 167-86

Tanner, Mark, ‘The Power of Performance as an Alternative Analytical Discourse: The Liszt Sonata in B Minor’, 19th-Century Music, 24.2 (Autumn, 2000), 173-92

Taruskin, Richard, ‘Resisting the Ninth’, in Text & Act: Essays on Music and Performance (London: OUP, 1995), pp. 235-61

Timbrell, Charles, ‘Debussy in Performance’, in The Cambridge Companion to Debussy, ed. by Trezise (Cambridge: CUP, 2003), pp. 259-77

Tunbridge, Laura, ‘Frieda Hempel and the Historical Imagination’, Journal of the American Musicological Society, 66.2 (Summer 2013), 437-64

Worthington, Emily Claire, ‘The modernisation of wind playing in London orchestras, 1909-1939: A study of playing style in early orchestral recordings’ (PhD thesis, University of York, 2013) http://etheses.whiterose.ac.uk/4503/1/complete.pdf

Performers' writings

Beecham, Thomas, Mingled Chime (London: Hutchinson & Co., 1949)

Blades, James, Drum Roll: A Professional Adventure from the Circus to the Concert Hall (London: Faber, 1977)

---, These I Have Met (London: Thames, 1998)

Blum, David, Casals and the Art of Interpretation (London: Heinemann, 1977)

Brendel, Alfred, Musical Thoughts & Afterthoughts (London: Robson Books, 1976)

Brymer, Jack, Clarinet (London: Kahn & Everill, 1990)

---, From Where I Sit (London: Cassell, 1979)

---, In the Orchestra (London: Hutchinson, 1987)

Davis, Miles (with Quincy Troupe), Miles: the Autobiography (London: Macmillan, 1990)

Ellington, Edward Kennedy, Music is my Mistress (New York: Doubleday, 1973)

Farrington, Holly E., ‘Narrating the Jazz Life: Three Approaches to Jazz Autobiography’, Popular Music & Society, 29.3 (2006), 375-86

Glennie, Evelyn, Good Vibrations: My Autobiography (London: Hutchinson, 1990)

Goodman, Benny, and Irving Kolodin, The Kingdom of Swing (New York: Stackpole Sons, 1939)

Gottlieb, Robert, ed., Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now (New York: Vintage Books, 1999)

Llewelyn-Jones, Iwan, ‘Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel’ (PhD thesis, Cardiff University, 2016) https://orca.cf.ac.uk/100830/1/2016llewelyn-jonesiphd.pdf

Mingus, Charles, ed. Nel King, Beneath the Underdog (London: Weidenfeld & Nicholson, 1971)

Plunkett Greene, Harry, Interpretation in Song (London: Macmillan & Co., 1912)

Prouty, Ken, ‘Plagiarizing your own autobiography, and other strange tales: Miles Davis, jazz discourse, and the aesthetic of silence’, Jazz Research Journal, 4.1 (2010), 15-41

Schenker, Heinrich, The Art of Performance, trans. Irelene Scheier Scott, ed. Heribert Esser (Oxford: OUP, 2000)

Sutton, Matthew, ‘Amplifying the Text: Paratext in Popular Musicians’ Autobiographies’, Popular Music and Society, 38.2 (2015), 208-33

Wolff, Konrad, The Teaching of Artur Schnabel: A Guide to Interpretation (London: Faber & Faber, 1972)

Wood, Henry J., My Life of Music (London: Victor Gollancz, 1938)

This list was last updated on 09/09/2021