Performance History; Reception; Locative Studies

2021 ◽  
pp. 99-110
Author(s):  
Gregory Harwood
Keyword(s):  
Performance History

Performing the Mass in B Minor in an Age of Choices

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Nineteenth Century ◽  
Johann Sebastian Bach ◽  
Point Of View ◽  
Performance History ◽  
History Of ◽  
Compositional History

Every performance of Johann Sebastian Bach’'s Mass in B Minor makes choices. The work’s compositional history and the nature of the sources that transmit it require performers to make decisions about its musical text and about the performing forces used in its realization. The Mass’s editorial history reflects deeply ideological views about Bach’s composition and how it should sound, not just objective reporting on the piece, with consequences for performances that follow specific editions. Things left unspecified by the composer need to be filled in, and every decision—including the choice to add nothing to Bach’s text—represents an interpretation. And the long performance history of the Mass offers a range of possibilities, reflecting a tension between the performance of a work like the Mass in Bach’s time and the tradition inherited from the nineteenth century. Every performance thus represents a point of view about the piece; —there are no neutral performances.

A Performance History of Aureliano in Palmira

1999 ◽  
Vol 15 (1) ◽  
pp. 33-37
Author(s):  
T. KAUFMAN
Keyword(s):  
Performance History ◽  
History Of ◽  
A Performance

Cherubini: A Critical Anthology, 1788–1801

1993 ◽  
Vol 26 ◽  
pp. 95-99 ◽  
Author(s):  
David Charlton
Keyword(s):  
Detailed Account ◽  
Performance History ◽  
Paris Opera ◽  
History Of

… as they say in Germany, ‘in music, Cherubini is a hundred years ahead of us’. trans. from Correspondance des Arrwteurs musiciens, 8 October 1803Attitudes to Cherubini have been affected by the knowledge that his most important operas had scant success in Paris after 1800. This lack of a continuous French performing tradition has encouraged the feeling that they were perhaps unviable or unattractive. It is not one shared by the author of a substantial dissertation on Cherubini, Stephen C. Willis; but Willis's work was focussed on the composer rather than his operas’ reception. In fact, neither the performance history nor reception of these five main works has apparently, until now, been investigated. They are: Démophoon (text by J. F. Marmontel, Paris Opéra, 2 December 1788); Lodoïska (C. F. Fillette, or ‘Fillette Loraux’, 18 July 1791); Eliza, ou Le voyage aux glaciers du Mont St Bernard, J. A. Révéroni St-Cyr, 13 December 1794); Médée (F. B. Hoffman, 13 March 1797); and Les Deux journées (J. N. Bouilly, 16 January 1800). The last four were all produced at the Théâtre Feydeau. A properly detailed account of Cherubini's involvement at this theatre must be reserved for another occasion: part of the ignorance surrounding the genesis of these extraordinary operas lies simply in the fact than no history of the Feydeau has been written. Cherubini produced two comedies at the Feydeau which were unsuccessful and are not considered here: L'Hôtellerie portugaise (25 July 1798) and La Punition (23 February 1799).

Unearthing the Facets of Crisis History in Crisis Communication: A Conceptual Framework and Introduction of the Crisis History Salience Scale

2021 ◽  
pp. 232948842098876
Author(s):  
LaShonda L. Eaddy
Keyword(s):  
Crisis Communication ◽  
Communication Theory ◽  
Influential Factors ◽  
Strategy Development ◽  
Crisis Communications ◽  
Responsibility Attribution ◽  
Performance History ◽  
Situational Crisis Communication Theory ◽  
Relationship History ◽  
Insight Into

Coombs’s Situational Crisis Communication Theory suggests performance history, composed of relationship history and crisis history, intensify crisis responsibility attribution. Relationship history is organizations’ actual and perceived rapport with publics, while crisis history is an organization’s previous crises. Extant literature has only examined crisis history one-dimensionally. This study proposes the Crisis History Framework that provides insight into influential factors that can make crises more or less salient to individuals. Furthermore, the study introduces the Crisis History Salience Scale that can help crisis communications scholars conduct empirical research examining crisis history’s multiple facets. Moreover, the study offers suggestions for how crisis history considerations can inform proactive crisis management, key messaging, and strategy development during crises.

Fannish boy: Examining blues fandom through British music periodicals

2021 ◽  
Vol 9 (1) ◽  
pp. 75-88
Author(s):  
Alan Munshower ◽  
Greg Johnson
Keyword(s):  
Social Media ◽  
Music Appreciation ◽  
Online Forums ◽  
University Of Mississippi ◽  
Large Collection ◽  
Performance History ◽  
Sound Recordings ◽  
British Music ◽  
The University

Before online forums and social media groups allowed spaces for blues fans to share their love of the music, newsletters and periodicals created by blues societies and fans provided outlets for blues aficionados to connect with other fans, discographers, musicians and scholars through performance and album reviews, pilgrimage storytelling, descriptions of recent discoveries of rare sound recordings and much more. The University of Mississippi Blues Archive holds a large collection of blues periodicals, covering over 1000 unique titles, from over 25 countries, with a bulk date of 1963 to the present. Historically of interest to researchers of blues performance history, the collection also contains a wealth of insight to blues fandom and communities of music appreciation worldwide. This article explores pathways for examining blues fandom studies through the newsletter collection and highlights unique issues and perspectives found in the collection.

TWO HUNTERS, A MILKMAID AND THE FRENCH ‘REVOLUTIONARY’ CANON

2018 ◽  
Vol 15 (2) ◽  
pp. 177-205 ◽  
Author(s):  
JULIA DOE
Keyword(s):  
Eighteenth Century ◽  
Large Scale ◽  
Stage I ◽  
Performance History ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
History Of ◽  
Printed Music

ABSTRACTLarge-scale programming studies of French Revolutionary theatre confirm that the most frequently staged opera of the 1790s was not one of the politically charged, compositionally progressive works that have come to define the era for posterity, but rather a pastoral comedy from mid-century:Les deux chasseurs et la laitière(1763), with a score by Egidio Duni to a libretto by Louis Anseaume. This article draws upon both musical and archival evidence to establish an extended performance history ofLes deux chasseurs, and a more nuanced explanation for its enduring hold on the French lyric stage. I consider the pragmatic, legal and aesthetic factors contributing to the comedy's widespread adaptability, including its cosmopolitan musical idiom, scenographic simplicity and ready familiarity amongst consumers of printed music. More broadly, I address the advantages and limitations of corpus-based analysis with respect to delineating the operatic canon. In late eighteenth-century Paris, observers were already beginning to identify a chasm between their theatre-going experiences and the reactions of critics: Was a true piece of ‘Revolutionary’ theatre one that was heralded as emblematic of its time, or one, likeLes deux chasseurs, that was so frequently seen that it hardly elicited a mention in the printed record?

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