Early Sound Recordings

Introduction

Eva Moreda Rodriguez and Inja Stanovic

Part I: Interpreting early recordings: cultural, critical, and contextual approaches

1. Kate Bennett Wadsworth (Guildhall School of Music and Drama), "Dactyls and Fire Spirits: Carl Reinecke's written publications on Mozart as a guide to his piano rolls"

2. Emily Worthington (University of York), "Individuality, Corporate Identity and the Development of Wind Playing Style in the Recordings of the BBC Symphony Orchestra and London Philharmonic Orchestra, 1930-1939"

3. Gabrielle Kaufman (Universitat Autonoma de Barcelona), "Expressive Portamento in "Ombra mai fu": an analysis of recordings by cellists, violinists and singers 1906-1925"

4. Barbara Gentili (Cardiff University) and Daniele Palma (Universita di Bologna), "Earthy Singing, Sensuous Voices: Timbre and orthodoxies of beautiful singing in operatic early recordings (1900-1940)"

Part II. Animating the archive: early recordings in practice-led research

5. David Milsom (University of Huddersfield), "Understanding Joseph Joachim's Style and Practice: recordings as a research tool"

6. Richard Beaudoin (Darmouth College), "Micro-temporal Measurements of Two Early Debussy Recordings as the Foundation for New Music"

7. Joanna Staruch-Smolec (Universite Libre de Bruxelles and Conservatoire royal de Bruxelles), "Towards a Better Understanding of Ysaye's Portamento: a comparative study of recorded and annotated evidence in a practice-based approach"

8. Inja Stanovic (City, University of London), "(Re)constructing Early Recordings: Experimental research as a guide in performance"

Part III. Rethinking theory and analysis: the musical work viewed through early recordings

9. Eva Moreda Rodriguez (University of Glasgow), "From Notation to Stage to Recording in Spanish Zarzuela, 1896-1958"

10. Georgia Volioti (University of Surrey), "The Written and the Sung: Grieg's piano ballade and the performativity of genre"

11. Ana Llorens (Universidad Complutense de Madrid), "Early recorded structures: non-organic forms in Brahms's cello sonatas as performed by Feuermann and Casals"

12. Adam Stanovic (London College of Communication, University of the Arts), "Trust in Early Recordings: documents, performances and works"