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Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950 Paperback – Aug 19 2004

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Product Details

  • Paperback: 288 pages
  • Publisher: Cambridge University Press (Aug. 19 2004)
  • Language: English
  • ISBN-10: 0521607442
  • ISBN-13: 978-0521607445
  • Product Dimensions: 17.4 x 1.5 x 24.7 cm
  • Shipping Weight: 653 g
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #786,285 in Books (See Top 100 in Books)
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Product Description


..".a gold mine of performance-practice source material that he uses not only as a demonstration of how radically performance style has changed in the twentieth century, but also as a case study in the nature of our understanding and interpretation of performance-practice documentation in general. Philip's book is, indeed, nothing short of revolutionary....This is a book that no one with an interest in musical performance style can afford to overlook." Douglas Leedy, Performance Practice Review

Book Description

In this fascinating study, Robert Philip argues that recordings of the early twentieth-century provide an important, and hitherto neglected, resource in the history of musical performance.

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Most Helpful Customer Reviews on (beta) HASH(0x9a777bb8) out of 5 stars 1 review
5 of 5 people found the following review helpful
HASH(0x9a77b09c) out of 5 stars The Evidence Mounts Up Jan. 14 2006
By R. Chevalier - Published on
Format: Paperback Verified Purchase
For what it does, this is an excellent study. Who else would take the time to document in utmost metronomic detail the subtle shifts of tempo in a wide variety of compositions, performed by an extremely varied group of performers so that we can now have a 'performance practice' of early 20th century performers instead of just that of the 16th-18th centuries and earlier?

This book will give back-up to those present day performers who recognize the need for extricating concepts of tempo from the limitations of the late 20th century which Philip discusses in this book and for re-creating in modern interpretations the tempo rubato taken for granted in the late 19th century, to say nothing of earlier centuries.

The reader certainly does not have to agree with all his conclusions to recognize that Philip has done his chosen task very, very well indeed.