Outline

Overview

This course examines historical performing practices up to the present day aiming to widen understanding of the extent to which musical notation and written evidence preserve the performing practices of past eras. The wealth of sound recordings from the turn of the twentieth century provides a window into the near past. Issues to explore include: sound production (vibrato, non-vibrato and portamento in the case of string and wind playing and singing), expressive keyboard techniques (manual asynchrony and arpeggiation), and more general issues such as tempo rubato, tempo modification, ornamentation, articulation, and phrasing. The course will introduce students to varying performance styles, some of which are no longer generally in fashion, increasing the palette of musical choices and solutions and increasing the dimensions of understanding of specific repertoire.

Unit details and rules

Unit code	EMUS5600
Academic unit
Credit points	6
Prohibitions ?	None
Prerequisites ?	MCGY5610
Corequisites ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	No

Teaching staff

Coordinator	Neal Peres Da Costa, neal.peresdacosta@sydney.edu.au
Lecturer(s)	Neal Peres Da Costa, neal.peresdacosta@sydney.edu.au

Type	Description	Weight	Due	Length
Presentation	Recording emulation with presentation Performance (recorded)	30%	Formal exam period Due date: 26 Nov 2021 at 18:00	5-10 mins
Outcomes assessed:
Presentation	Conference-style paper or lecture/demonstration Conference presentation: to be recorded and uploaded to youtube	30%	Multiple weeks Due date: 09 Nov 2021 at 18:00	30 minutes
Outcomes assessed:
Participation	Participation Participation in seminar discussions	10%	Ongoing	Ongoing
Outcomes assessed:
Presentation	Performance Workshop Performative presentation of chosen repertoire	20%	Week 12 Due date: 02 Nov 2021 at 18:00	10 mins
Outcomes assessed:
Participation	Attendance Attendance	10%	Weekly	Ongoing
Outcomes assessed:

Assessment summary

Attendance (10%), participation in seminar discussions (10%) and performance workshop (20%): The expectation is that each student will present twice in the performance workshop during the semester.
Recording emulation exercise with presentation (recorded) – 30%: You are asked here to choose a historical recording and emulate it using processes that will be discussed in class. The task then is to apply your knowledge and embodied experience to a piece of music not available in a historic recording. Emulations will be workshopped in class. You are asked to record both your emulation and the piece to which you apply your knowledge
Conference presentation (recorded) – 30%: This task requires you to think about a question in the area of performance practice that you find intriguing and to undertake research that provides perspectives that help understand the practice and answer the question(s). The presentation can be in the form of a lecture demonstration or other suitable format and can include powerpoint, live or recorded performance, and other relevant resources. You are asked to record your presentation and upload it to a YouTube channel. We will all have access to these recordings in advance of our mini conference at which there will be a chance to discuss the presentations and ask questions.

Detailed information for each assessment can be found on Canvas.

Assessment criteria

The following assessment criteria are used for performance work in this unit of study:

Result name	Mark range	Description
High distinction	85 - 100	Comprehensive and outstanding technical control and musical integrity in relation to developmental expectations. Musical individuality consistently projected to create a persuasive personal representation of the work. Performance flair indicative of soloist standard. A mark of 95 or above indicates extraordinary technical virtuosity and musical artistry.
Distinction	75 - 84	Excellent technical, musical and stylistic achievement. Consistently coherent and expressive performance. Some personal interpretation of the work suggesting soloist potential.
Credit	65 - 74	Confident technique with evidence of solid musicality and some stylistic achievement. Occasional lapses indicative of unresolved technical, artistic and/or stylistic issues. Projects potential for further development.
Pass	50 - 64	Satisfactory level of preparation and musical engagement. Some inconsistencies in musicianship, style and/or technique. Musical imagination and overall performance sense developing though some insecurity in this area.
Fail	0 - 49	Unsatisfactory technical achievement and/or unsatisfactory level of musical and artistic engagement. Limitations may be of such a scale and consistency as to call into question the student’s future direction in the programme.

The following assessment criteria are used for written work in this unit of study:

Result name	Mark range	Description
High distinction	85 - 100	Demonstrates high level of initiative in research and reading; sophisticated critical analysis of evidence; high level engagement with theoretical issues, innovative use of reading/research material and impressive command of underlying debates and assumptions; properly documented and written with style, originality and precision.
Distinction	75 - 84	Demonstrates initiative in research and wide, appropriate reading; complex understanding of question and ability to critically review material in relation to underlying assumptions and values; analyses material in relation to empirical and theoretical contexts; properly documented; clear, well-developed structure and argument with some signs of literary style.
Credit	65 - 74	Evidence of broader understanding than pass level; offers synthesis with some critical evaluation of material; coherent argument using a range of relevant evidence; some evidence of independent thought, good referencing. A high credit (70-74) shows some evidence of ability to problematise and think conceptually.
Pass	50 - 64	Written work meets basic requirements in terms of reading/research; relevant material; tendency to descriptive summary rather than critical argument; makes a reasonable attempt to avoid paraphrasing; reasonably coherent structure; often has weaknesses in particular areas, especially in terms of narrow or underdeveloped treatment of question; acceptable documentation.
Fail	0 - 49	Work may fail for any or all of the following reasons: Unacceptable paraphrasing; irrelevance of content; poor spelling; poor presentation; grammar or structure so sloppy it cannot be understood; failure to demonstrate understanding of content; insufficient or overlong word length.

For more information see sydney.edu.au/students/guide-to-grades.

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

Deduction of 5% of the maximum mark for each calendar day after the due date.
After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The Current Student website provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

You may only use artificial intelligence and writing assistance tools in assessment tasks if you are permitted to by your unit coordinator, and if you do use them, you must also acknowledge this in your work, either in a footnote or an acknowledgement section.

Studiosity is permitted for postgraduate units unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission.

Learning support

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

Weekly schedule

WK	Topic	Learning activity
STUVAC	Conference questions/discussion session	Seminar (2 hr)
Week 01	Historically Inspired Performance—old or new? 1. Introduction: performance practice concepts, evolving practices; period versus historical instruments and vocal qualities (timbre, pitch, temperament), pre-modern–modern–HIP, written sources, early recordings—a window into pre-modern style, recording emulation; 2. Getting to know each other and navigating the Canvas sites.	Seminar (2 hr)
Week 02	Before the change: 1. Experiencing pre-modern aesthetics through early recordings and emulation—tools, rules and techniques; 2. Performance workshop	Seminar (2 hr)
Week 03	Weapons of rhetorical performance 1: 1. Piano asynchrony and arpeggiation 2. Performance workshop	Seminar (2 hr)
Week 04	Weapons of rhetorical performance 2: 1. Metrical rubato—changing note values and positions; 2. Tempo Modification; 3. Recording emulation check in	Seminar (2 hr)
Week 05	Weapons of rhetorical performance 3. 1. Portamento and Vibrato; 2. Bowing styles; 3. Performance workshop	Seminar (2 hr)
Week 06	Weapons of rhetorical performance 4. 1. Legato, non legato and slurs; 2. Staccato, portato, tenuto; 3. Dynamics, accents and accentuation; 4. Ornaments, ornamentation and improvisation; 5. Recording emulation check in	Seminar (2 hr)
Week 07	Performance Workshop	Seminar (2 hr)
Week 08	1. Ensemble Performance; 2. Urtexts and edited editions; 3. Recording emulation check in 6-7pm	Seminar (2 hr)
Week 11	1. The places and spaces of performance; 6. Performance workshop and recording emulation check in 6-7pm	Seminar (2 hr)
Week 12	Performance Workshop and Emulation check in	Seminar (2 hr)
Week 13	Conference questions/discussion session	Seminar (2 hr)

Attendance and class requirements

Attendance: Students are expected to attend a minimum of 90% of timetabled activities for a unit of study, unless granted exemption by the Dean, Head of School or professor most concerned. The Dean, Head of School or professor most concerned may determine that a student fails a unit of study because of inadequate attendance. Alternatively, at their discretion, they may set additional assessment items where attendance is lower than 90%.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

Selected Reading List

Adam, L., Méthode de piano du conservatoire (Paris, 1804/5).

Arnold, F.T., the Art of Accompaniment from a Thorough-Bass (New York, Dover, 1965).

Bach, C.P.E., Versuch über die wahre Art das Clavier zu spielen, vol.i (Berlin, 1753, rev. 2nd edn. 1787), vol.ii (Berlin, 1762, rev. 2nd edn. 1797); facs. repr. of 1st edns., incl. revs. of 1787 as a separate section (Leipzig, 1787); trans. and ed. W.J. Mitchell as Essay on the True Art of Playing Keyboard Instruments (New York, 1949).

Brown, C., Classical and Romantic Performing Practice 1750-1900 (Oxford, 1999).

Buelow, G., Thorough-Bass Accompaniment According to Johann David Heinichen (University of Nebraska Press, Lincoln and London, 1986).

Butt J., Playing with History (Cambridge, 2002).

Christensen J.B., 18th Century Continuo Playing – A Historical Guide to The Basics, trans. J. Bradford Robinson (Bärenreiter, BA 8177, 2002).

Cook, Nicholas., Beyond the Score: Music as Performance (OUP, 2013).

Corri, D., A Select Collection of the most Admired Songs, Duetts (c. 1779), See R. Maunder.

‑‑‑‑‑‑‑‑The Singing Preceptor, i-ii (1810), See R. Maunder.

Crelle, A.L., Einiges über musikalischen Ausdruck und Vortrag (Berlin, 1823).

Crutchfield W., ‘Brahms, by those who knew him’, Opus (1986).

Czerny, C., The Art of Playing the Ancient and Modern Piano Forte Works…Being a Supplement to the Royal Pianoforte School Op. 500 (London, 1846).

‑‑‑‑‑‑‑‑Vollständige theoretische-practische Pianoforte-Schule Op. 500, 3 vols. (Vienna, 1839); trans. as Theoretical and Practical Pianoforte School Op. 500 (London, [1839]).

Donington, R., ‘Rubato’, The New Grove Dictionary of Music and Musicians, ed. S. Sadie, 1st edn. (London, 1980), vol. 16, 292.

-------- The Interpretation of Early Music, new edn. (Faber, 1975)

‑‑‑‑‑‑‑‑‘The Present Position of Authenticity’, Performance Practice Review (1989), vol. 2 no. 2, 117-25.

García, M., Traité complet de l’art du chant (Paris et Londres, 1847).

‑‑‑‑‑‑‑‑Nouveau traité sommaire de l’art du chant (Paris, 1856).

‑‑‑‑‑‑‑‑García’s New Treatise on the Art of Singing (London, Hutchings and Romer, 1857).

‑‑‑‑‑‑‑‑García’s New Treatise on the Art of Singing - A Compendious Method of Instruction (London, Beale & Chappell, 1857).

Germano, William., From Dissertation to Book (University of Chicago Press, 2005).

Hamilton K., After the Golden Age, Romantic Pianism and Modern Performance. (Oxford:, Oxford University Press, 2008).

‘The Virtuoso Tradition’, The Cambridge Companion to the Piano, ed. David Rowland (Cambridge, 1998).

Haynes B., The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century (Oxford, 2007).

Hudson, R., Stolen Time: The History of Tempo Rubato (Oxford, 1994).

Hummel, J.N., Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, 3 vols. (Vienna, 1828); trans. as A Complete Theoretical and Practical Course of Instructions, on the Art of Playing the Piano Forte (London, 1828).

Joachim, J. and Moser, A., Violinschule, 3 vols., trans. A. Moffat (Berlin und Leipzig, 1905).

Kennaway, George, Playing the Cello 1780-1930 (Ashgate, 2014).

Ed. Kenyon N., Authenticity and Early Music – A Symposium (Oxford, 1988).

Ledbetter, D., Continuo Playing According to Handel; His Figured Bass Exercises, (New York, Oxford University Press,1990).

MacClintock, C., Readings in the History of Music in Performance (Bloomington, 1982).

Wright, Lesley and McCarrey, Scott., Perspectives on the Performance of French Piano Music (Ashgate, 2014).

Mozart, L., Versuch einer gründlichen Violinschule, 3rd edn. (Augsburg, 1787); trans. E. Knocker as A Treatise on the Fundamental Principles of Violin Playing, 2nd edn., (Oxford, 1951, repr. 1988): incl. the additions and changes in the 1787 edn. as well as the whole of the original text.

Peres Da Costa, N., Off the Record: Performing Practices in Romantic Piano Playing (New York: Oxford, 2012).

Philip, R., Early Recordings and Musical Style: Changing Tastes in Instrumental Performance 1900 - 1950 (Cambridge, 1992).

--------. Performing Music in the Age of Recording (New Haven and London, 2004).

‑‑‑‑‑‑‑‑‘Pianists on Record in the Early Twentieth Century’, The Cambridge Companion to the Piano, ed. D. Rowland (Cambridge, 1998).

Quantz, J.J., Versuch einer Anweisung die Flöte traversiere zu spielen (Berlin, 1752); trans. E.R, Reilly as On Playing the Flute (1966), 2nd edn., (London, 1985).

Reinecke, C., Die Beethovenschen Clavier-Sonaten: Briefe an eine Freundin (Leipzig, 1895); trans. E.M. Trevenen Dawson as The Beethoven Pianoforte Sonatas: Letters to a Lady (London, 1898).

Rosen C., Piano Notes – The Hidden World of the Pianist (London, 2002).

Rosenblum, S.P., ‘The Uses of Rubato in Music, Eighteenth to Twentieth Centuries’, Performance Practice Review (1994), vol. 7, no. 1, 33-53.

Sonneck, O.G., Beethoven - Impressions by His Contemporaries (New York, 1926)

Spohr, L., Violinschule (Vienna, [1832]); trans. C. Rudolphus as Louis Spohr’s Grand Violin School (London, 1833).

Stowell, R., Violin Technique and Performance in the Late Eighteenth and Early Nineteenth Centuries (Cambridge, 1985).

Taruskin R., Text and Act (Oxford, 1995).

Türk, D.G., Klavierschule, oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen (Leipzig and Halle, 1789); 2nd enlarged edn. (Leipzig and Halle, 1802), trans. R.H. Haggh as School of Clavier Playing (Lincoln-Nebraska, 1982).

Learning outcomes

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

Outcomes
Graduate qualities

At the completion of this unit, you should be able to:

LO1. access and apply performing practice information in primary and secondary sources (including early recordings) to a wide range of repertoire
LO2. communicate ideas and research related to historical performance practice both in written, spoken and performative formats
LO3. use novel performance practice research methodolgies including recording emulation.
LO4. applying historical performance practice evidence in performance

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1	Depth of disciplinary expertise Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.
GQ2	Critical thinking and problem solving Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.
GQ3	Oral and written communication Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.
GQ4	Information and digital literacy Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.
GQ5	Inventiveness Generating novel ideas and solutions.
GQ6	Cultural competence Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.
GQ7	Interdisciplinary effectiveness Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.
GQ8	Integrated professional, ethical, and personal identity An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.
GQ9	Influence Engaging others in a process, idea or vision.

Outcome map

Learning outcomes	Graduate qualities
Learning outcomes

Responding to student feedback

This section outlines changes made to this unit following staff and student reviews.

NO INFORMATION ENTERED HERE YET

Additional information

See Canvas Historical Performance Site 2021 for more detailed UoS information and for regular announcements.

Disclaimer

The University reserves the right to amend units of study or no longer offer certain units, including where there are low enrolment numbers.

To help you understand common terms that we use at the University, we offer an online glossary.

Current students

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Additional information

Additional information

Disclaimer

On this page

Useful links

Media

Student links

About us

Connect

Current students

EMUS5600: Historical Performance Practice

Semester 2, 2021 [Normal day] - Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Additional information

Additional information

Disclaimer

On this page

Useful links

Media

Student links

About us

Connect