Practice-led Methodologies in Early Recording Research

Dr. George Kennaway: g.kennaway@hud.ac.uk (University of Huddersfield)

Dr. David Milsom: d.milsom@hud.ac.uk (University of Huddersfield)

Dr. Eva Moreda Rodriguez: Eva.MoredaRodriguez@glasgow.ac.uk (University of Glasgow)

Dr. Inja Stanovic: i.stanovic@hud.ac.uk (University of Huddersfield)

Dr. Emily Worthington: e.worthington@hud.ac.uk (University of Huddersfield)

The importance of early recordings as primary sources in performance practice research is widely acknowledged; they present valuable insights into the aesthetic tendencies and preoccupations of the late nineteenth and early twentieth century musicians. Methods used within the field of early recordings research have started to diversify, quite substantially, as the field has grown and developed. In tracking this diversification, this themed session takes stock of where we are, presents a range of current methodological approaches in the field of early recordings research, and considers how the future of this exciting research field shall likely move forward in the years to come.

Dr. Eva Moreda Rodriguez starts by presenting research using early Spanish recordings of zarzuela, bringing together elements from contextual and cultural musicology as well as social history to situate these recordings as cultural artefacts. Dr. Moreda Rodriguez discusses how a context-specific approach is particularly necessary for genres such as zarzuela, which sit on the margins of the Western canon and have not received much attention from scholars of early recordings as more canonical genres and practices.

Dr. Emily Worthington then presents on orchestral recordings as a source of information on early C20th wind-playing style, and the importance of understanding the institutional contexts that they reflect. She then reflects on possibilities and barriers for the practice-researcher applying this evidence in a solo and ensemble context.

Dr. David Milsom discusses the implications of embodiment in historically informed violin performance, as well as the methodological processes in emulation methods. Dr. Milsom will present these topics through his research on recordings of Joseph Joachim (1831-1907).

Dr. George Kennaway discusses his work on Auguste van Biene (1849-1913), and the play which was composed specifically for this famous cellist, The Broken Melody. The play's eponymous cello solo was recorded several times by van Biene, WH Squire, Cedric Sharpe, several violinists, and in orchestral versions. Through research on these recordings, Dr. Kennaway will explore the connections between string performance and dramatic speech.

Dr. Inja Stanović presents practice-led research into mechanical recording techniques and their influence on recording musicians. In doing so, Stanović discusses a method involving the reconstruction of early recordings, auto-ethnography, and phenomenological approaches to performance practice research.