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In der musikalischen Aufführungspraxis ist es normalerweise der Mensch, der das Tempo erzeugt. Innerlich ein Tempo zu etablieren und es an das der mitmusizierenden Personen anzugleichen, ist eine grundlegende musikalische Fähigkeit. Was bedeutet es also, wenn das Tempo von einem technischen System vorgegeben wird? Philippe Kocher unterzieht diese besondere Art der Mensch-Maschine-Interaktion einer musikgeschichtlichen, technikgeschichtlichen und medienarchäologischen Betrachtung. Darüber hinaus entwickelt er innerhalb seiner wissenschaftlich-künstlerischen Studie ein eigenes System zur technikgestützten Tempovermittlung und beschreibt dessen Einsatz in der Praxis.

Performance practice (Music) --- Musical performance practice --- Performing practice (Music) --- Music --- Performance

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Music --- Jazz --- Opera --- Musique --- Opéra --- History and criticism --- Histoire et critique --- Music and society --- Musique et société --- Muziek en maatschappij --- Opéra --- -Music --- -Performance practice (Music) --- -Musical performance practice --- Performing practice (Music) --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Social aspects --- Performance practice (Music) --- Musical performance practice --- History --- Performance --- Germany --- 20th century --- Praktijk van de uitvoering (Muziek) -- Duitsland -- 20e eeuw --- Performance practice (Music) -- Germany -- 20th century --- Pratique de l'exécution (Musique) -- Allemagne -- 20e siècle --- Muziek -- Duitsland -- 20e eeuw -- Geschiedenis en kritiek --- Music -- Germany -- 20th century -- History and criticism --- Musique -- Allemagne -- 20e siècle -- Histoire et critique --- 78.54

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Performance practice (Music) --- Style, Musical --- Music --- Early-music groups --- Pratique de l'exécution (Musique) --- Ensembles de musique ancienne --- Style musical --- Congresses. --- Congresses --- Congrès --- Pratique de l'exécution (Musique) --- Congrès --- Musical style --- Musical performance practice --- Performing practice (Music) --- Philosophy and aesthetics --- Performance --- 78.50 --- Uitvoeringspraktijk --- Historische muziek

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Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this 2002 study, John Butt sums up debates on the nature of the early music movement and historically informed performance, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors of the movement, while claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed. He also asks whether the phenomenon of historically informed performance reflects changes in the culture of western music and how it, in turn, may have influenced that culture, particularly in regard to such issues as the status of the composer, the work, intentionality and notation.

Music --- Performance practice (Music) --- Pratique de l'exécution (Musique) --- Musique --- History and criticism. --- Histoire et critique --- Historische Musikpraxis. --- Musikästhetik. --- Performance practice (Music). --- Pratique de l'exécution (Musique). --- Uitvoeringspraktijk. --- Histoire et critique. --- 78.50 --- 517 --- Uitvoeringspraktijk --- Historically informed performance (Music) --- Authentic performance (Music) --- HIP (Historically informed performance) --- Period performance (Music) --- Criticism --- Musical performance practice --- Performing practice (Music) --- Performance --- 21e eeuw

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In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, covering the mid-sixteenth to early twentieth century.

517 --- Uitvoeringspraktijk --- Keyboard instrument music --- Performance practice (Music) --- Instrument à clavier, Musique d' --- Pratique de l'exécution (Musique) --- Interpretation (Phrasing, dynamics, etc.) --- History and criticism --- Interprétation --- Histoire et critique --- Musical performance practice --- Performing practice (Music) --- Keyboard music --- Music --- Recorded accompaniments (Keyboard instrument) --- Performance --- History and criticism.