The conventional way of understanding what musicians do as performers is to treat them as producers of sound; some even argue that it is unnecessary to see musicians in performance as long as one can hear them. But musical performance, counters Philip Auslander, is also a social interaction between musicians and their audiences, appealing as much to the eye as to the ear. In Concert: Performing Musical Persona he addresses not only the visual means by which musicians engage their audiences through costume and physical gesture, but also spectacular aspects of performance such as light shows. Although musicians do not usually enact fictional characters on stage, they nevertheless present themselves to audiences in ways specific to the performance situation. Auslander’s term to denote the musician’s presence before the audience is musical persona. While presence of a musical persona may be most obvious within rock and pop music, the book’s analysis extends to classical music, jazz, blues, country, electronic music, laptop performance, and music made with experimental digital interfaces. The eclectic group of performers discussed include the Beatles, Miles Davis, Keith Urban, Lady Gaga, Nicki Minaj, Frank Zappa, B. B. King, Jefferson Airplane, Virgil Fox, Keith Jarrett, Glenn Gould, and Laurie Anderson.

What is the relationship between performance and recording? What is the impact of recording on the lives of musicians? Comparison of the lives of musicians and audiences in the years before recordings with those of today. Survey of the changing attitudes toward freedom of expression, the globalization of performing styles and the rise of the period instrument movement.

Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.

A great deal of evidence survives about how Brahms and his contemporaries performed his music. But much of this evidence - found in letters, autograph scores, treatises, publications, recordings, and more - has been hard to access, both for musicians and for scholars. This book brings the most important evidence together into one volume. It also includes discussions by leading Brahms scholars of the many issues raised by the evidence. The period spanned by the life of Brahms and the following generation saw a crucial transition in performance style. As a result, modern performance practices differ significantly from those of Brahms's time. By exploring the musical styles and habits of Brahms's era, this book will help musicians and scholars understand Brahms's music better and bring fresh ideas to present-day performance. The value of the book is greatly enhanced by the accompanying CD of historic recordings - including a performance by Brahms himself.

Nobody performs better under pressure. Regardless of the task, pressure ruthlessly diminishes our judgment, decision-making, attention, dexterity, and performance in every professional and personal arena. In Performing Under Pressure, Drs. Hendrie Weisinger and J.P. Pawliw-Fry introduce us to the concept of pressure management, offering empirically tested short term and long term solutions to help us overcome the debilitating effects of pressure. Performing Under Pressure tackles the greatest obstacle to personal success, whether in a sales presentation, at home, on the golf course, interviewing for a job, or performing onstage at Carnegie Hall. Despite sports mythology, no one "rises to the occasion" under pressure and does better than they do in practice. The reality is pressure makes us do worse, and sometimes leads us to fail utterly. But there are things we can do to diminish its effects on our performance. Performing Under Pressure draws on research from over 12,000 people, and features the latest research from neuroscience and from the frontline experiences of Fortune 500 employees and managers, Navy SEALS, Olympic and other elite athletes, and others. It offers 22 specific strategies each of us can use to reduce pressure in our personal and professional lives and allow us to better excel in whatever we do. Whether you’re a corporate manager, a basketball player, or a student preparing for the SAT, Performing Under Pressure will help you to do your best when it matters most.

This book examines the nature of musical performance. In it, Dorottya Fabian explores the contributions and limitations of some of these approaches to performance, be they theoretical, cultural, historical, perceptual, or analytical. Through a detailed investigation of recent recordings of J. S. Bach’s Six Sonatas and Partitas for Solo Violin, she demonstrates that music performance functions as a complex dynamical system. Only by crossing disciplinary boundaries, therefore, can we put the aural experience into words. A Musicology of Performance provides a model for such a method by adopting Deleuzian concepts and various empirical and interdisciplinary procedures. Fabian provides a case study in the repertoire, while presenting new insights into the state of baroque performance practice at the turn of the twenty-first century. Through its wealth of audio examples, tables, and graphs, the book offers both a sensory and a scholarly account of musical performance. These interactive elements map the connections between historically informed and mainstream performance styles, considering them in relation to broader cultural trends, violin schools, and individual artistic trajectories. A Musicology of Performance is a must read for academics and post-graduate students and an essential reference point for the study of music performance, the early music movement, and Bach’s opus.

CD contains musical excerpts referenced in the text.