Lora Deahl and Brenda Wristen
- Published in print:
- 2017
- Published Online:
- November 2017
- ISBN:
- 9780190616847
- eISBN:
- 9780190616878
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190616847.001.0001
- Subject:
- Music, Performing Practice/Studies
Adaptive Strategies for Small-Handed Pianists brings together information from ergonomics, physics, biomechanics, anatomy, medicine, and piano pedagogy to focus on the subject of small-handedness. ...
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Adaptive Strategies for Small-Handed Pianists brings together information from ergonomics, physics, biomechanics, anatomy, medicine, and piano pedagogy to focus on the subject of small-handedness. Chapter 1 presents an overview from historical, anatomical, and pedagogical perspectives and includes a discussion of small-handedness as a risk factor for piano-related injury. Chapter 2 establishes a basic understanding of work efficiency and the human anatomy, moves on to general observations about piano playing and the constraints of physics, and explains the principles of healthy movement at the piano. Chapter 3 is a focused analysis of piano technique as it relates to small-handedness. Chapters 4 to 7 deal with specific alternative approaches: redistribution, refingering, ways to maximize reach and power, and musical solutions for technical problems. Hundreds of examples taken from the standard intermediate and advanced piano literature show concrete applications of these strategies within appropriate musical contexts. Chapter 8 presents tables that pianists can use to diagnose and resolve commonly encountered problems and synthesizes the adaptive approaches outlined in the book. Reflective application points are provided as guides to further exploration. The book demonstrates that the specific physical and musical needs of the small-handed can be addressed in sensitive and appropriate ways and illuminates alternative paths to help pianists with small hands reach their musical goals.Less
Adaptive Strategies for Small-Handed Pianists brings together information from ergonomics, physics, biomechanics, anatomy, medicine, and piano pedagogy to focus on the subject of small-handedness. Chapter 1 presents an overview from historical, anatomical, and pedagogical perspectives and includes a discussion of small-handedness as a risk factor for piano-related injury. Chapter 2 establishes a basic understanding of work efficiency and the human anatomy, moves on to general observations about piano playing and the constraints of physics, and explains the principles of healthy movement at the piano. Chapter 3 is a focused analysis of piano technique as it relates to small-handedness. Chapters 4 to 7 deal with specific alternative approaches: redistribution, refingering, ways to maximize reach and power, and musical solutions for technical problems. Hundreds of examples taken from the standard intermediate and advanced piano literature show concrete applications of these strategies within appropriate musical contexts. Chapter 8 presents tables that pianists can use to diagnose and resolve commonly encountered problems and synthesizes the adaptive approaches outlined in the book. Reflective application points are provided as guides to further exploration. The book demonstrates that the specific physical and musical needs of the small-handed can be addressed in sensitive and appropriate ways and illuminates alternative paths to help pianists with small hands reach their musical goals.
Nick Wilson
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199939930
- eISBN:
- 9780199369775
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199939930.001.0001
- Subject:
- Music, Performing Practice/Studies, History, Western
This book tells the remarkable and inspiring story of the British early music movement (Early Music). Since the late-1960s this quietly influential cultural phenomenon has completely transformed the ...
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This book tells the remarkable and inspiring story of the British early music movement (Early Music). Since the late-1960s this quietly influential cultural phenomenon has completely transformed the way in which we listen to ‘old’ music, revolutionizing the classical music profession in the process. Forty years on, the influence of historically informed performance (HIP) is everywhere to hear, in concert halls around the world, on radio and on disc. And yet the extraordinary rise of Early Music, founded on its apparently uncompromising agenda of ‘authenticity’, has been anything but uncontroversial. Early Music’s detractors have been quick to point out the many inconsistencies andin-authentic ‘modernist’ practices that underpin its success, highlighting its use of recordings, reliance on the market, and even its creativity (‘making it up’), as evidence ofits just notbeing what it said it was. The story of making Early Music work in the modern age(an age of disenchantment, division and split), is riven with conflict and contradiction; but it is also an altogether more upliftingnarrative about ‘re-enchanting art’, of living out the unfolding dialectic between old and new, head and heart, ‘text’ and ‘act’; and of over-coming separation, restoring the bonds betweenelements of life that we have otherwise become accustomed to holdingapart, such asour musicianship, scholarship, craftsmanship, and cultural entrepreneurship. Beyond itsfocus on the performance of classical music, therefore, this book offers the opening remarks ina much-neededconversation about the value of art and authenticityin our lives today.Less
This book tells the remarkable and inspiring story of the British early music movement (Early Music). Since the late-1960s this quietly influential cultural phenomenon has completely transformed the way in which we listen to ‘old’ music, revolutionizing the classical music profession in the process. Forty years on, the influence of historically informed performance (HIP) is everywhere to hear, in concert halls around the world, on radio and on disc. And yet the extraordinary rise of Early Music, founded on its apparently uncompromising agenda of ‘authenticity’, has been anything but uncontroversial. Early Music’s detractors have been quick to point out the many inconsistencies andin-authentic ‘modernist’ practices that underpin its success, highlighting its use of recordings, reliance on the market, and even its creativity (‘making it up’), as evidence ofits just notbeing what it said it was. The story of making Early Music work in the modern age(an age of disenchantment, division and split), is riven with conflict and contradiction; but it is also an altogether more upliftingnarrative about ‘re-enchanting art’, of living out the unfolding dialectic between old and new, head and heart, ‘text’ and ‘act’; and of over-coming separation, restoring the bonds betweenelements of life that we have otherwise become accustomed to holdingapart, such asour musicianship, scholarship, craftsmanship, and cultural entrepreneurship. Beyond itsfocus on the performance of classical music, therefore, this book offers the opening remarks ina much-neededconversation about the value of art and authenticityin our lives today.
David Elliott, Marissa Silverman, and Wayne Bowman
- Published in print:
- 2016
- Published Online:
- October 2016
- ISBN:
- 9780199393749
- eISBN:
- 9780199393770
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199393749.001.0001
- Subject:
- Music, Theory, Analysis, Composition, Performing Practice/Studies
Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis examines the many ways that artists (amateur and professional), community artist-facilitators, educators, and scholars in ...
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Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis examines the many ways that artists (amateur and professional), community artist-facilitators, educators, and scholars in music, dance/movement, theater, visual arts, poetry/storytelling, and media and technology conceive and deploy their abilities to advance democratic citizenship and human flourishing in local, national, and international contexts. Among the questions this book addresses are the following: What is the nature and scope of artistic citizenship? How do artists and scholars in different domains conceive the aims, concepts, practical strategies, problems, and “spaces and places” of artistic citizenship? What are the most effective strategies that artists, teachers, and students use to address local, national, and world problems, including violence and international conflicts, poverty, disease, and gender and racial discrimination? What qualities and abilities do amateur and professional artists need to practice, develop, and expand artistic citizenship? What connections exist between ethical-artistic action and artistic citizenship? What is the history of conceptualizing the “why, what, how, who, where, and when” of artistic citizenship? Do particular artistic endeavors have distinctive potentials for nurturing artistic citizenship? If so, what might they be? How can artistic citizenship be pursued without compromising the natures and values of particular artistic practices? What can arts education programs do to motivate artists of all ages and abilities to better serve their communities? How might artistic endeavors informed by a pragmatic “ethic of care” contribute to positive societal change?Less
Artistic Citizenship: Artistry, Social Responsibility, and Ethical Praxis examines the many ways that artists (amateur and professional), community artist-facilitators, educators, and scholars in music, dance/movement, theater, visual arts, poetry/storytelling, and media and technology conceive and deploy their abilities to advance democratic citizenship and human flourishing in local, national, and international contexts. Among the questions this book addresses are the following: What is the nature and scope of artistic citizenship? How do artists and scholars in different domains conceive the aims, concepts, practical strategies, problems, and “spaces and places” of artistic citizenship? What are the most effective strategies that artists, teachers, and students use to address local, national, and world problems, including violence and international conflicts, poverty, disease, and gender and racial discrimination? What qualities and abilities do amateur and professional artists need to practice, develop, and expand artistic citizenship? What connections exist between ethical-artistic action and artistic citizenship? What is the history of conceptualizing the “why, what, how, who, where, and when” of artistic citizenship? Do particular artistic endeavors have distinctive potentials for nurturing artistic citizenship? If so, what might they be? How can artistic citizenship be pursued without compromising the natures and values of particular artistic practices? What can arts education programs do to motivate artists of all ages and abilities to better serve their communities? How might artistic endeavors informed by a pragmatic “ethic of care” contribute to positive societal change?
Barbara Tagg
- Published in print:
- 2013
- Published Online:
- May 2015
- ISBN:
- 9780199920686
- eISBN:
- 9780190268350
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199920686.001.0001
- Subject:
- Music, Performing Practice/Studies
All children must have an opportunity to share the joy of choral music participation—whether in school, church, or community choirs. What happens before the singing begins is critical to supporting, ...
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All children must have an opportunity to share the joy of choral music participation—whether in school, church, or community choirs. What happens before the singing begins is critical to supporting, sustaining, and nurturing choirs to give every child the opportunity to experience the wonder of choral singing. Based on years of experience conducting and teaching, this book brings practical information about ways of organizing choirs. From classroom choirs, to mission statements, boards of directors, commissioning, auditioning, and repertoire, the book aims to inspire new ways of thinking about how choirs organize their daily tasks. The collaborative community that surrounds a choir includes conductors, music educators, church choir directors, board members, volunteers, staff, administrators, and university students in music education and nonprofit arts management degree programs.Less
All children must have an opportunity to share the joy of choral music participation—whether in school, church, or community choirs. What happens before the singing begins is critical to supporting, sustaining, and nurturing choirs to give every child the opportunity to experience the wonder of choral singing. Based on years of experience conducting and teaching, this book brings practical information about ways of organizing choirs. From classroom choirs, to mission statements, boards of directors, commissioning, auditioning, and repertoire, the book aims to inspire new ways of thinking about how choirs organize their daily tasks. The collaborative community that surrounds a choir includes conductors, music educators, church choir directors, board members, volunteers, staff, administrators, and university students in music education and nonprofit arts management degree programs.
Nicholas Cook
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199357406
- eISBN:
- 9780199357420
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199357406.001.0001
- Subject:
- Music, Theory, Analysis, Composition, Performing Practice/Studies
It is as performance that music is loved, understood, and consumed, yet musicologists have traditionally treated it as a kind of text. They have seen meaning as written into the music, implying that ...
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It is as performance that music is loved, understood, and consumed, yet musicologists have traditionally treated it as a kind of text. They have seen meaning as written into the music, implying that performance merely reproduces what is already there: this paradigm of reproduction has prevented musicology from adequately engaging with performance. Beyond the Score is a thoroughgoing attempt to reconceive music as performance, in other words as a real-time practice that affords the production of meaning. That means rethinking familiar assumptions and developing new approaches. Focusing primarily but not exclusively on the Western “art” tradition, the book explores perspectives that range from close listening to computational analysis, from ethnography to the study of recordings, and from the social relations constructed through performance to the performing (and listening) body. It also has a strong historical emphasis, extending from the early days of recording to contemporary digital culture, and a number of themes weave through it. These include the relationship between the written and the oral in musical culture, and the need to move on from thinking based on the paradigm of reproduction to a semiotic approach grounded on the production of meaning. While the principal claim of the book is that thinking based on the idea of music as text has hampered the academic understanding of music, the book argues that it has also made the practices of performance less creative than they might be, and the book explores how we might escape from the textualist straitjacket.Less
It is as performance that music is loved, understood, and consumed, yet musicologists have traditionally treated it as a kind of text. They have seen meaning as written into the music, implying that performance merely reproduces what is already there: this paradigm of reproduction has prevented musicology from adequately engaging with performance. Beyond the Score is a thoroughgoing attempt to reconceive music as performance, in other words as a real-time practice that affords the production of meaning. That means rethinking familiar assumptions and developing new approaches. Focusing primarily but not exclusively on the Western “art” tradition, the book explores perspectives that range from close listening to computational analysis, from ethnography to the study of recordings, and from the social relations constructed through performance to the performing (and listening) body. It also has a strong historical emphasis, extending from the early days of recording to contemporary digital culture, and a number of themes weave through it. These include the relationship between the written and the oral in musical culture, and the need to move on from thinking based on the paradigm of reproduction to a semiotic approach grounded on the production of meaning. While the principal claim of the book is that thinking based on the idea of music as text has hampered the academic understanding of music, the book argues that it has also made the practices of performance less creative than they might be, and the book explores how we might escape from the textualist straitjacket.
Kevin Winkler
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780199336791
- eISBN:
- 9780190841478
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199336791.001.0001
- Subject:
- Music, Dance, Performing Practice/Studies
Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a ...
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Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a choreographer, including the various dance influences he absorbed as a young performer. It examines key Fosse dances and contextualizes them across his career. It looks at how he influenced changes in the musical theater, particularly as a director, and how early mentors George Abbott and Jerome Robbins shaped his theatrical outlook. It compares his work to that of peers like Robbins, Gower Champion, Michael Bennett, and others. The book also examines his choreography for film and looks at how his film experiences influenced his stage work. It also considers the impact of his three marriages—all to dancers—on his career. Finally, the book investigates how Fosse’s evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.Less
Bob Fosse’s work continues to be the most recognizable of the great choreographers of Broadway’s post–World War II golden age. This book offers deep analysis of Fosse’s development as a choreographer, including the various dance influences he absorbed as a young performer. It examines key Fosse dances and contextualizes them across his career. It looks at how he influenced changes in the musical theater, particularly as a director, and how early mentors George Abbott and Jerome Robbins shaped his theatrical outlook. It compares his work to that of peers like Robbins, Gower Champion, Michael Bennett, and others. The book also examines his choreography for film and looks at how his film experiences influenced his stage work. It also considers the impact of his three marriages—all to dancers—on his career. Finally, the book investigates how Fosse’s evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
Robin D. Moore (ed.)
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9780190658397
- eISBN:
- 9780190658434
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190658397.001.0001
- Subject:
- Music, Performing Practice/Studies
This volume considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Its goal is to create dialogue among faculty, administrators, ...
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This volume considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Its goal is to create dialogue among faculty, administrators, and students about what the future of college music instruction should be and how to transition to new paradigms. Critiques and calls for reform have existed for decades, but few publications have offered concrete suggestions as to how things might be done differently. This book suggests new concepts or guiding principles that might be used to reconceive applied music education at the university level and, based on existing experiments taking place nationally and internationally, how such principles might be implemented in practical terms. The book’s essays concentrate primarily on changes to performance degrees rather than other subdisciplines since the former constitute the center of activity in most institutions. Ethnomusicologists feature prominently among the contributors, but the volume also includes input from those with specialization in music education, theory/composition, professional performance, and administration.Less
This volume considers what a more inclusive, dynamic, and socially engaged curriculum of musical study might look like in universities. Its goal is to create dialogue among faculty, administrators, and students about what the future of college music instruction should be and how to transition to new paradigms. Critiques and calls for reform have existed for decades, but few publications have offered concrete suggestions as to how things might be done differently. This book suggests new concepts or guiding principles that might be used to reconceive applied music education at the university level and, based on existing experiments taking place nationally and internationally, how such principles might be implemented in practical terms. The book’s essays concentrate primarily on changes to performance degrees rather than other subdisciplines since the former constitute the center of activity in most institutions. Ethnomusicologists feature prominently among the contributors, but the volume also includes input from those with specialization in music education, theory/composition, professional performance, and administration.
Michele Kaschub and Janice Smith (eds)
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199832286
- eISBN:
- 9780199979806
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199832286.001.0001
- Subject:
- Music, Performing Practice/Studies, Psychology of Music
This book addresses the needs of teacher-educators seeking to include composition pedagogy in music education curricula. Though several decades of scholarship have examined the processes and products ...
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This book addresses the needs of teacher-educators seeking to include composition pedagogy in music education curricula. Though several decades of scholarship have examined the processes and products of young composers and offered insight to their work, many teachers still report a significant degree of trepidation when asked to lead students in composition activities. This book provides guidance for developing pre-service and in-service teachers ability to confidently and effectively facilitate composition study in PreK-12 settings. Issues that frame the volume include why composition should be part of music education, and by extension, music teacher education; research bases in creativity and children's composition; and the changing nature of compositional practices in contemporary culture. Drawing on both research and practice, chapters provide models for leading composition study in elementary general music, choral and instrumental ensembles, and songwriting classes. Guidance is offered for those working with special needs populations and gifted-and-talented students, as well as those interested in expanding experiences beyond the classroom via technology. Moreover, specific programmatic approaches for addressing the professional development of pre-service and in-service teachers are offered in detail so that music teacher-educators may create environments where composition's potential to enliven and invigorate contemporary practices in music education can be fully embraced.Less
This book addresses the needs of teacher-educators seeking to include composition pedagogy in music education curricula. Though several decades of scholarship have examined the processes and products of young composers and offered insight to their work, many teachers still report a significant degree of trepidation when asked to lead students in composition activities. This book provides guidance for developing pre-service and in-service teachers ability to confidently and effectively facilitate composition study in PreK-12 settings. Issues that frame the volume include why composition should be part of music education, and by extension, music teacher education; research bases in creativity and children's composition; and the changing nature of compositional practices in contemporary culture. Drawing on both research and practice, chapters provide models for leading composition study in elementary general music, choral and instrumental ensembles, and songwriting classes. Guidance is offered for those working with special needs populations and gifted-and-talented students, as well as those interested in expanding experiences beyond the classroom via technology. Moreover, specific programmatic approaches for addressing the professional development of pre-service and in-service teachers are offered in detail so that music teacher-educators may create environments where composition's potential to enliven and invigorate contemporary practices in music education can be fully embraced.
Peter Miksza and Kenneth Elpus
- Published in print:
- 2018
- Published Online:
- March 2018
- ISBN:
- 9780199391905
- eISBN:
- 9780199391943
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199391905.001.0001
- Subject:
- Music, Theory, Analysis, Composition, Performing Practice/Studies
This book is an introduction to quantitative research design and data analysis presented in the context of music education scholarship. The book aims for readers to come away with a familiarity of ...
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This book is an introduction to quantitative research design and data analysis presented in the context of music education scholarship. The book aims for readers to come away with a familiarity of prototypical research design possibilities as well as a fundamental understanding of data analysis techniques necessary for carrying out scientific inquiry. The book includes examples that demonstrate how the methodological and statistical concepts presented throughout can be applied to pertinent issues in music education. For the majority of Part I, the strategy is to present traditional design categories side by side with explanations of general analytical approaches for dealing with data yielded from each respective design type. Part II consists of chapters devoted to methodological and analytical approaches that have become common in related fields (e.g., psychology, sociology, general education research, educational policy) but are as yet not frequently exploited by music education researchers. Ultimately, this work is motivated by a desire to help scholars acquire the means to actualize their research curiosities and to contribute to the advancement of rigor in music education research throughout the profession at large.Less
This book is an introduction to quantitative research design and data analysis presented in the context of music education scholarship. The book aims for readers to come away with a familiarity of prototypical research design possibilities as well as a fundamental understanding of data analysis techniques necessary for carrying out scientific inquiry. The book includes examples that demonstrate how the methodological and statistical concepts presented throughout can be applied to pertinent issues in music education. For the majority of Part I, the strategy is to present traditional design categories side by side with explanations of general analytical approaches for dealing with data yielded from each respective design type. Part II consists of chapters devoted to methodological and analytical approaches that have become common in related fields (e.g., psychology, sociology, general education research, educational policy) but are as yet not frequently exploited by music education researchers. Ultimately, this work is motivated by a desire to help scholars acquire the means to actualize their research curiosities and to contribute to the advancement of rigor in music education research throughout the profession at large.
Donna Louise Gunn
- Published in print:
- 2015
- Published Online:
- December 2015
- ISBN:
- 9780199396634
- eISBN:
- 9780199396672
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199396634.001.0001
- Subject:
- Music, Performing Practice/Studies
The strong desire for knowledge and musical honesty sends musicians to the fortepiano—looking back to impact how to move forward. This book uncovers and examines eighteenth-century philosophical ...
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The strong desire for knowledge and musical honesty sends musicians to the fortepiano—looking back to impact how to move forward. This book uncovers and examines eighteenth-century philosophical beliefs and fundamental principles surrounding Classical Era performance practices, c. 1750–1800. Affekt and “good taste,” the foundation on which the style is based, set the tone throughout the book. The Viennese five-octave fortepiano is introduced and compared to the modern piano. Eighteenth-century music notational language is examined and explained, as well as compared and contrasted to modern understanding. Tools (rather than rules) are revealed to get at the heart of an eighteenth-century sound aesthetic. These relevant tools make comprehensible what may have been baffling: application to modern playing. This book provides synthesis of primary sources and scholarly interpretations of eighteenth-century performance practice; specific answers to performance questions regarding period influences on the modern piano, including technique, dynamics, articulation, rhythm, ornamentation, and pedaling; and sample model lessons to demonstrate application of the style on the modern piano. Over a hundred music examples are presented to illustrate concepts. Each music example has been recorded and is presented in three instructive versions: (a) an uninfluenced modern interpretation on a Steinway M piano, (b) an influenced rendition on a 1978 Belt-Walter fortepiano replica of a c. 1780s five-octave Anton Walter fortepiano, and (c) a reconciled version demonstrating how the book influences delivery on the modern piano. The goal is to afford modern performers the freedom to craft an authentic, personal, historically informed performance style.Less
The strong desire for knowledge and musical honesty sends musicians to the fortepiano—looking back to impact how to move forward. This book uncovers and examines eighteenth-century philosophical beliefs and fundamental principles surrounding Classical Era performance practices, c. 1750–1800. Affekt and “good taste,” the foundation on which the style is based, set the tone throughout the book. The Viennese five-octave fortepiano is introduced and compared to the modern piano. Eighteenth-century music notational language is examined and explained, as well as compared and contrasted to modern understanding. Tools (rather than rules) are revealed to get at the heart of an eighteenth-century sound aesthetic. These relevant tools make comprehensible what may have been baffling: application to modern playing. This book provides synthesis of primary sources and scholarly interpretations of eighteenth-century performance practice; specific answers to performance questions regarding period influences on the modern piano, including technique, dynamics, articulation, rhythm, ornamentation, and pedaling; and sample model lessons to demonstrate application of the style on the modern piano. Over a hundred music examples are presented to illustrate concepts. Each music example has been recorded and is presented in three instructive versions: (a) an uninfluenced modern interpretation on a Steinway M piano, (b) an influenced rendition on a 1978 Belt-Walter fortepiano replica of a c. 1780s five-octave Anton Walter fortepiano, and (c) a reconciled version demonstrating how the book influences delivery on the modern piano. The goal is to afford modern performers the freedom to craft an authentic, personal, historically informed performance style.
