Between theory and practice: comparative study of early music performances

Abstract

Examination of the mode of performance of central musical parameters was carried out through comparative analysis of a selection of recorded performances of Baroque compositions, made by prominent ‘historically informed’ and ‘main stream’ performers of different periods. Analysis of the manner of execution of pitch, intonation, tempo, rhythmic interpretation and ornamentation was aimed at exploring performance conventions, canonic authorities and the degree of compliance to scholarly findings and directives made in regards to these parameters. Results suggest the existence of ruling conventional practices and fixed prototypes of interpretations. Comparison between the ‘historically informed’ group of performers and their ‘main stream’ colleagues has shown clear similarity in many of the analyzed parameters, suggesting the existence of mutual influences and shared canonic authorities. Different degrees of compliance have been additionally found between scholarly directives and performances made in ‘real’ practice: despite some exceptions traced in various cases, findings have shown inclination towards ‘traditional’ positions stated by earlier scholars while later, critical attitudes did not find their way to general practice.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 12 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.