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Preface Colin Lawson | |
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Performance Through History | |
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Performance today | |
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Political process, social structure, and musical performance in Europe since 1450 | |
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The evidence | |
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The performer and the composer | |
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The teaching of performance | |
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Music and musical performance: histories in disjunction? | |
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Pre-Renaissance Performance | |
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The ancient world | |
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Performance before c.1430: an overview | |
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Vocal performance before c.1430 | |
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Instrumental performance before c.1430 | |
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Case study: Guillaume de Machaut: ballade 34, 'Quant Theseus/Ne quier veoir' | |
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Performance in the Renaissance (c.1430-1600) | |
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Performance in the Renaissance: an overview | |
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Vocal performance in the Renaissance | |
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Instrumental performance in the Renaissance | |
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Case study: Seville cathedral's music in performance 1549-1599 | |
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Performance in the Seventeenth Century | |
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Performance in the seventeenth century: an overview | |
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Vocal performance in the seventeenth century | |
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Instrumental performance in the seventeenth century | |
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Case study: Monteverdi's Mass and Vespers (1610) | |
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Performance in the 'Long Eighteenth Century' | |
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Performance in the 'long eighteenth century': an overview | |
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Vocal performance in 'the long eighteenth century' | |
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Instrumental performance in 'the long eighteenth century' | |
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Case study: Mozart: Symphonies in E flat major K543, G minor K550 and C major K551 | |
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Performance in the Nineteenth Century | |
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Performance in the nineteenth century: an overview | |
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Vocal performance in the nineteenth century | |
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Instrumental performance in the nineteenth century | |
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Case study: Richard Wagner: Tristan und Isolde | |
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The Twentieth Century and Beyond | |
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Musical performance in the twentieth century: an overview | |
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Vocal performance in the twentieth century and beyond | |
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Instrumental performance in the twentieth century and beyond | |
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Case study: Karlheinz Stockhausen: Gruppen f�r drei Orchester | |
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The future? | |
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Bibliography | |