Daniel Leech-Wilkinson
Biographic Data
| ID | 1123020 |
|---|---|
| NAME | Daniel Leech-Wilkinson |
| GIVEN NAMES | Daniel |
| FAMILY NAME | Leech-Wilkinson |
| SIGNATURE | LEECH-WILKINSON D |
| AFFILIATIONS | King's College London |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 17 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1980 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 2 |
The danger of virtuosity
This Afterword to the special issue on Virtuosity takes the main contributions to the issue as a starting-point for a discussion of the normality of virtuosity, the anxieties it creates for performers, and the politics of virtuosity. Conclusions from Izabela Wagner’s (2015) study of the training of violin virtuosi are outlined. The relationship between virtuosity and conformity is considered. And suggestions are offered for increased virtuosity o…
Music and Shape
Shape is a concept that is widely used in talk about music. Musicians in wide-ranging genres of music use it to help them rehearse, teach and think about what they do. Yet why is a word that seems to require something to see or to feel so useful to describe something that sounds? How is sound shaped? And how does shaping help performers and composers, and engage listeners? If the concept is so ubiquitous among practitioners, why has it been missi…
Reflection
The shape of music is constantly fluid because nothing resonates the same twice. Every sound and shape is born and reborn. When music is printed on the page it takes shape in my imagination with the eye leading the way. As a performer, the environment is my instrument and percussion instruments are my tools to deliver the sound. I can provide all the musical ingredients for the environment I am immersed in. The acoustic will mould the sound meal …
Classical music as enforced Utopia
In classical music composition, whatever thematic or harmonic conflicts may be engineered along the way, everything always turns out for the best. Similar utopian thinking underlies performance: performers see their job as faithfully carrying out their master’s (the composer’s) wishes. The more perfectly they represent them, the happier the result. But why should performers not have a critical role to play in re-presenting a score, just as actors…
Compositions, Scores, Performances, Meanings
The standard model of musical transmission, in which composers embody their intentions in works which they encode in scores which performers (and scholars in their imagination) decode as accurately as possible for audiences, is unpicked in the light of the evidence of recorded performance. It is replaced with a model that recognizes the large extent to which performances trigger the generation of musical meaning in the minds of listeners, and the…
Performance Style in Elena Gerhardt's Schubert Song Recordings
Performance style is conceptualised as a collection of small ‘expressive gestures’ consisting of changes in frequency, loudness or duration within or between notes or phrases. Collections differ somewhat between individuals (personal style) and change in content over time (period style). The changing style of Elena Gerhardt (1883–1965), as documented in her recordings of Schubert Lieder (1911–1939), is analysed through her habits of timbre, vibra…
Listening and Responding to the Evidence of Early Twentieth-Century Performance
Early recordings raise fundamental questions about our response to music. Why do these performances seem so strange to us? How could they ever have made musical sense to listeners? How might we make sense of them now, in our very different music-cultural environment? This paper looks at some of the ways in which musical sounds model other processes involving change over time. A mechanism is proposed that may underlie the cross-domain mappings gen…
The Cambridge Companion to Recorded Music
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of p…
Cambridge Companion to Recorded Music
Sound and Meaning in Recordings of Schubert's “Die junge Nonne”
Musicology's growing interest in performance brings it closer to musical science through a shared interest in the relationship between musical sounds and emotional states. However, the fact that musical performance styles change over time implies that understandings of musical compositions change too. And this has implications for studies of music cognition. While the mechanisms by which musical sounds suggest meaning are likely to be biologicall…
Portamento e significado musical
Portamento was a significant expressive device among performers for at least two hundred years; yet, for the past sixty it has made musicians uncomfortable. More than a change of fashion, this suggests responses formed at a relatively deep psychological level. Drawing on work in developmental psychology, and reading in the light of it performances of art music lullabies, it is suggested that portamento draws on innate emotional responses to human…
On the Origins of Harmonic Tonality
Machaut's Mass
Medieval Masterpiece
Machaut's Mass. An Introduction
Machaut's Messe de Notre Dame stands as an enduring monument of medieval musical art. As such it is one of the most widely studied and performed works of music written before 1600. The Mass itself, however, is surrounded by uncertainty; its date of composition is unknown, its purpose is unclear, and its construction yields much ambiguity. Daniel Leech-Wilkinson has prepared a modern performing edition of this work, published by OUP's music depart…
Philippe De Vitry
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
Machaut's 'Rose, Lis' and the Problem of Early Music Analysis
Congress Reports
Journal Article CONGRESS REPORTS Get access International Musicological Society: Report of the Twelfth Congress, Berkeley 1977. Ed. by Daniel Heartz & Bonnie Wade. pp. xx + 912. ( Bärenreiter, Kassel & c./American Musicological Society, Philadelphia, 1981, DM. 135.00.) Les Sources en musicologie: Actes des Journées d'études de la Société Française de Musicologie à l'lnstitut de Recherche et d'Histoire des Textes d'Orléans La Source (9–11 Septembr…
An Elizabethan Motet from Longleat
Compositions, Scores, Performances, Meanings
The standard model of musical transmission, in which composers embody their intentions in works which they encode in scores which performers (and scholars in their imagination) decode as accurately as possible for audiences, is unpicked in the light of the evidence of recorded performance. It is replaced with a model that recognizes the large extent to which performances trigger the generation of musical meaning in the minds of listeners, and the…
Machaut's 'Rose, Lis' and the Problem of Early Music Analysis
An Elizabethan Motet from Longleat
Congress Reports
Journal Article CONGRESS REPORTS Get access International Musicological Society: Report of the Twelfth Congress, Berkeley 1977. Ed. by Daniel Heartz & Bonnie Wade. pp. xx + 912. ( Bärenreiter, Kassel & c./American Musicological Society, Philadelphia, 1981, DM. 135.00.) Les Sources en musicologie: Actes des Journées d'études de la Société Française de Musicologie à l'lnstitut de Recherche et d'Histoire des Textes d'Orléans La Source (9–11 Septembr…
Machaut's 'Rose, Lis' and the Problem of Early Music Analysis
Philippe De Vitry
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
Medieval Masterpiece
Machaut's Mass. An Introduction
Machaut's Messe de Notre Dame stands as an enduring monument of medieval musical art. As such it is one of the most widely studied and performed works of music written before 1600. The Mass itself, however, is surrounded by uncertainty; its date of composition is unknown, its purpose is unclear, and its construction yields much ambiguity. Daniel Leech-Wilkinson has prepared a modern performing edition of this work, published by OUP's music depart…
Machaut's Mass
On the Origins of Harmonic Tonality
Sound and Meaning in Recordings of Schubert's “Die junge Nonne”
Musicology's growing interest in performance brings it closer to musical science through a shared interest in the relationship between musical sounds and emotional states. However, the fact that musical performance styles change over time implies that understandings of musical compositions change too. And this has implications for studies of music cognition. While the mechanisms by which musical sounds suggest meaning are likely to be biologicall…
Portamento e significado musical
Portamento was a significant expressive device among performers for at least two hundred years; yet, for the past sixty it has made musicians uncomfortable. More than a change of fashion, this suggests responses formed at a relatively deep psychological level. Drawing on work in developmental psychology, and reading in the light of it performances of art music lullabies, it is suggested that portamento draws on innate emotional responses to human…
The Cambridge Companion to Recorded Music
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of p…
Cambridge Companion to Recorded Music
Performance Style in Elena Gerhardt's Schubert Song Recordings
Performance style is conceptualised as a collection of small ‘expressive gestures’ consisting of changes in frequency, loudness or duration within or between notes or phrases. Collections differ somewhat between individuals (personal style) and change in content over time (period style). The changing style of Elena Gerhardt (1883–1965), as documented in her recordings of Schubert Lieder (1911–1939), is analysed through her habits of timbre, vibra…
Listening and Responding to the Evidence of Early Twentieth-Century Performance
Early recordings raise fundamental questions about our response to music. Why do these performances seem so strange to us? How could they ever have made musical sense to listeners? How might we make sense of them now, in our very different music-cultural environment? This paper looks at some of the ways in which musical sounds model other processes involving change over time. A mechanism is proposed that may underlie the cross-domain mappings gen…
Compositions, Scores, Performances, Meanings
The standard model of musical transmission, in which composers embody their intentions in works which they encode in scores which performers (and scholars in their imagination) decode as accurately as possible for audiences, is unpicked in the light of the evidence of recorded performance. It is replaced with a model that recognizes the large extent to which performances trigger the generation of musical meaning in the minds of listeners, and the…
Classical music as enforced Utopia
In classical music composition, whatever thematic or harmonic conflicts may be engineered along the way, everything always turns out for the best. Similar utopian thinking underlies performance: performers see their job as faithfully carrying out their master’s (the composer’s) wishes. The more perfectly they represent them, the happier the result. But why should performers not have a critical role to play in re-presenting a score, just as actors…
Music and Shape
Shape is a concept that is widely used in talk about music. Musicians in wide-ranging genres of music use it to help them rehearse, teach and think about what they do. Yet why is a word that seems to require something to see or to feel so useful to describe something that sounds? How is sound shaped? And how does shaping help performers and composers, and engage listeners? If the concept is so ubiquitous among practitioners, why has it been missi…
Reflection
The shape of music is constantly fluid because nothing resonates the same twice. Every sound and shape is born and reborn. When music is printed on the page it takes shape in my imagination with the eye leading the way. As a performer, the environment is my instrument and percussion instruments are my tools to deliver the sound. I can provide all the musical ingredients for the environment I am immersed in. The acoustic will mould the sound meal …
The danger of virtuosity
This Afterword to the special issue on Virtuosity takes the main contributions to the issue as a starting-point for a discussion of the normality of virtuosity, the anxieties it creates for performers, and the politics of virtuosity. Conclusions from Izabela Wagner’s (2015) study of the training of violin virtuosi are outlined. The relationship between virtuosity and conformity is considered. And suggestions are offered for increased virtuosity o…
Art (16 works) · Musicology and Musical Analysis (10 works) · Literature (8 works) · Musical (6 works) · Psychology (6 works) · Neuroscience and Music Perception (5 works) · Visual arts (5 works) · Aesthetics (4 works) · Computer Science (4 works) · Music and Audio Processing (4 works)