Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

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Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

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Through the Eyes of an Entangled Teacher: When Classical Musical Instrument Performance Tuition in Higher Education is Subject to Quality Assurance

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Informed Play

Informed Play presents a conceptual understanding of tone production based on extensive historical research on primary sources, modern literature and handbook reviews, physical and psychological perspectives as well as on technology. As the first volume in English to discuss and contextualise the topic of tone production on Early Modern lute instruments from a broad, interdisciplinary approach, it represents a unique and significant contribution to research on Early Music performance, particularly performance on lute instruments. At a lute-centred level, this book challenges many preconceptions about tone production by addressing the motivations behind certain choices made in and embraced by the Early Music community. It is therefore an essential ‘desk reference’ for both researchers and performers. At a meta-level, Informed Play offers a general perspective of how self-expressive acts, physical and social causes and effects can be perceived biologically to better understand historical music performance as a social practice and phenomenon

‘Caprice de chaconne’ (1671): Symmetry and proportions in Francesco Corbetta’s work for Baroque guitar

For performers of Early Music, there is an everlasting quest to unveil new perspectives on a historically distant repertoire in search of new ways of performing and understanding the music. This is true for all performers of Early Music, including Baroque guitarists. A currently very popular performance piece is Francesco Corbetta’s ‘Caprice de chaconne’ (1671, ff. 72–73), which is to be found in his 1671 Baroque guitar tablature-collection, La guitarre royalle. Displaying advanced technical performance skills, embroidered connections between temporal coordinates that border between fantasy and order, it serves as an excellent display, not only of the performer’s technical skills, but also of Corbetta’s virtuosity both as a performer and composer, and, as we will see, political participation. In this article I will suggest new perspectives that may provide an extended understanding of how Corbetta’s political wit and musical talent manifest themselves in his ‘Caprice de chaconne.’ By unveiling symmetrical and proportional aspects to this music, I will present a structure that might have an influence on the performance of the piece, situating it within the socio-political context of Louis XIV’s court and the cult of his Sun King persona

French baroque lute music from 1650-1700

Masteroppgave i utøvende musikk- Universitetet i Agder 2010This master’s thesis aims to shed light on the performance of French baroque lute music from the period 1650 to 1700. Little research has been done in this area within the lute world. As an introduction I start with an overview of the music in general in France, and then I will discuss performance and performance praxis according to historical sources. Finally, a presentation of possible interpretation of selected pieces by the main lutenists and lute composers of the time: Charles Mouton, Jacques Gallot, Ennemond and Denis Gaultier and Phillip Franz LeSage de Richée. All are presented, both in the thesis and on the CD enclosed. France, Charles Mouton, Robert de Visée, Phillip Franz LeSage de Richée, Ennemond and Denis Gaultier, Jacques Gallot, King Louis XIV, Baroque Lute, Interpretation, 11 stringed guitar, The position of the lute in France, Characteristics of French Baroque Lute Music, Playing techniques, embellishments

French baroque lute music from 1650-1700

This master’s thesis aims to shed light on the performance of French baroque lute music from the period 1650 to 1700. Little research has been done in this area within the lute world. As an introduction I start with an overview of the music in general in France, and then I will discuss performance and performance praxis according to historical sources. Finally, a presentation of possible interpretation of selected pieces by the main lutenists and lute composers of the time: Charles Mouton, Jacques Gallot, Ennemond and Denis Gaultier and Phillip Franz LeSage de Richée. All are presented, both in the thesis and on the CD enclosed. France, Charles Mouton, Robert de Visée, Phillip Franz LeSage de Richée, Ennemond and Denis Gaultier, Jacques Gallot, King Louis XIV, Baroque Lute, Interpretation, 11 stringed guitar, The position of the lute in France, Characteristics of French Baroque Lute Music, Playing techniques, embellishments

Rethinking Music Practise–Sessions beyond Poiesis and Praxis-Towards Practising Democracy

How can the (seemingly isolated) process of practising a musical instrument in the context of practice sessions be seen as enabling students to develop skills “that are needed to keep democracies alive’ (Nussbaum, 2010, p. 2). How can we encourage this further? The approach is to explore the various potentials of the practise session to be something more than mere training. An exploration that can be instrumentally fostered in a study environment (formal or informal) through a practical pedagogical approach, not to reach a specific end — i.e. defined learning outcomes — but to result in the student transcending the professional competence acquisition situation to gain wisdom for a broader perspective. What is more, in the present article we will focus on the more autonomous aspects of the every-day, informal practice session of developing musicians and bring in perspectives from philosophy, particularly focusing on the relation between state policies and the individual performer. First, we explore the practise session-case as an aesthetic event. Secondly, we address the individual within the situation in relation to the exterior world while proposing an approach to serve as a framework for further exploration. We apply interaction through social media as a case for this section of the article. Thirdly, we seek to further develop the practice-session as a potential activity for personal growth. Next, we make a note of the related context of ensemble practice. Finally, we propose a logbook exercise to strategically enable this growth-process in practice.publishedVersio

The popular lute: an investigation of the function and performance of music in France between 1650 and 1700

In this project I wish to establish a seventeenth century popular concept focusing on the lute in France between 1650 and 1700. By promoting a more culturally based understanding of French lute music, I try to unveil some of its functions as social phenomena. The argument takes a starting point in Robert Middleton’s popular as presented in his book Studying popular music (1990), together with selected writings by Foucault; and from that I map different cultural groupings within the French society as to unveil how lute music was articulated. Following, I investigate how the construction of musician and music fits into and fulfill the conception of seventeenth century popular music that I propose. This study presents an internally contradictory concept of lute music that participates in dialogues between internal and external, self and other, individual and society

Embellishing lute music: Using the Renaissance Italian passaggi practice as a model and pedagogical tool for an increased improvisation vocabulary in the French Baroque style

Early seventeenth century lute improvisation — a phrase that by its mere utterance may cause debates full of uncertainties, fears and fantasies. What is proper improvisa-tion? How did they do it 360 years ago? In this article I seek to revive a systematic prac-tice of teaching ornamentation and improvisation from the Renaissance scholars — i.e. the passaggi practice — and adopt it to function as a methodology for Baroque music. This is done in order to present a practice that can be used in tuition, to have new gen-erations of musicians improvise in a comfortable manner using a broad vocabulary; to present a methodology with pedagogical, methodological and a historical value