edited by Anne Marshman (National University of Singapore, Singapore)

Table of Contents (53k)
Preface (59k)
Chapter 1: Where Things Stand Now (177k)

This book and its accompanying website present the selected proceedings of the inaugural, ‘The Performer's Voice: An International Forum for Music Performance and Scholarship’, directed by Dr Anne Marshman (editor) and hosted by the Yong Siew Toh Conservatory of Music, National University of Singapore. The chapters, which were selected through a process of international peer review, reflect the symposium's wide-ranging interdisciplinary scope, coupled with an uncompromising emphasis on the act of performance, the role of the performer and the professional performer's perspective.

• Where Things Stand Now (Richard Taruskin)
• The Performer's Voice and ‘His Dualistic Soul’: Hindemith Reconsidered (Stephen Emmerson)
• What Underwrites the Performer's Voice? A Bakhtinian Perspective (Anthony Gritten)
• The port de voix in Louis Couperin's Unmeasured Preludes: A Study of Types, Functions and Interpretation (David Chung)
• Explorations around Bass Parts and Key Schemes: Recording the Cantatas of Alessandro Scarlatti (Rosalind Halton)
• Marimba Plays Early Music: An Approach Informed by Historical Performance Practice (Tomoyo Ueda)
• A Philosophy of the Performer's Voice and Its Performance in Works by Mozart and Stravinsky (Anne Marshman)
• The Literary Song Recital with Special Reference to Maud (Michael Halliwell)
• ‘On the String in the Peasant Style’: Performance Style in Early Recordings of Béla Bartók's Romanian Folk Dances (Joshua Walden)
• The Lowly Voice: The Singapore Bassist Voice (Greg Petersen and Tony Makarome)
• From Fortepiano to Modern Piano: A Case Study of a Performer–Composer Collaboration (Helena Marinho and Sara Carvalho)
• Kung Fu Fan Turns Master: Eagle Claw Wu Tsiao Chen Wins (Aiyun Huang and Sean Griffin)