https://muse.jhu.edu/journal/829 Project MUSE®: Latest articles in Historical Performance. daily 1 2026-05-16T00:00:00-05:00 text/html en-US Vol. 1 (2005) through current issue Latest Articles: Historical Performance TWO Project MUSE® Historical Performance 2574-4178 2574-4151 Latest articles in Historical Performance. Feed provided by Project MUSE® https://muse.jhu.edu/article/890446 <p></p> In the summer of 1955, the Congress of the International Society of Musicology convened in Oxford, England. Beyond the papers, receptions, and informal discussions that make up the bulk of any academic conference, the attendees enjoyed several concerts of early English music that featured experts in the field of historical performance practice. They listened to odes by Purcell and Blow at Rhodes House and heard a performance of sixteenth- and seventeenth-century English choral music at Christ Church.1 The attendees were struck by the voice of one performer in particular: the countertenor Alfred Deller.A reporter from the Manchester Guardian notes how the German attendees had little exposure to the countertenor ... <a href="https://muse.jhu.edu/article/890448">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-16T00:00:00-05:00 https://muse.jhu.edu/journal/829/image/coversmall Alfred Deller, the Purcell Revival, and the Politics of Falsetto 2023-04-26 text/html en-US Alfred Deller, the Purcell Revival, and the Politics of Falsetto 2023-04-26 2023 TWO Project MUSE® 100040 2026-05-16T00:00:00-05:00 2023-04-26 https://muse.jhu.edu/article/890447 <p></p> It can be argued that any musical performance bears a certain level of deviation from the original composition&#39;s notation. Often, the limitations of notation make such deviations impossible to notate precisely: for example, subtle articulation changes, small tempo changes, timbre, sound color, and dynamic changes. Division ornamentation practice (DOP), which proliferated in the sixteenth century, is exceptional in that the notes and even the duration of the composition are altered to such a degree that those changes can be recorded through notation and then reproduced again in a performance.Should the ornamented version therefore be considered a new composition or related to the original composition in some way? We ... <a href="https://muse.jhu.edu/article/890448">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-16T00:00:00-05:00 https://muse.jhu.edu/journal/829/image/coversmall Guidelines for Improvising Divisions, Based on Sixteenth-Century Treatises, Statistical Evidence, and a Novel Categorization 2023-04-26 text/html en-US Guidelines for Improvising Divisions, Based on Sixteenth-Century Treatises, Statistical Evidence, and a Novel Categorization 2023-04-26 2023 TWO Project MUSE® 159800 2026-05-16T00:00:00-05:00 2023-04-26 https://muse.jhu.edu/article/890448 <p></p> As a product of culture, all music functions as ritual. Sonata, sarabande, psalm; church, parlor, theater, street. Each form, each architectural or physical context, provides a structure for enacting and inscribing social behavior. The musical sound seems to evanesce, to disappear the moment we hear it, but that sound fills a container that defines something about the interaction, the societal rules duplicated inside the physical space. Who gets to play? Who gets to listen? Who gets to learn, to study? Who gets to analyze, to teach, to decide what it means? Perhaps more cynically expressed, we could ask&#x2014;who pays? Who gets paid?The performative functions of ritual and space work together to create musical monuments ... <a href="https://muse.jhu.edu/article/890448">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-16T00:00:00-05:00 https://muse.jhu.edu/journal/829/image/coversmall Race and Representation in Baroque Opera—Some Thoughts on Pedagogy, Scholarship, and Performance 2023-04-26 text/html en-US Race and Representation in Baroque Opera—Some Thoughts on Pedagogy, Scholarship, and Performance 2023-04-26 2023 TWO Project MUSE® 110516 2026-05-16T00:00:00-05:00 2023-04-26