6. Reimagining Traditional Ritual Music of Sabah for Contemporary Performance as a Means of Conservation

Chapters in this book

1. Frontmatter i
2. Contents v
3. Introduction 1
4. PART ONE. HIP Experiences
5. 1. Some Senses of History among HIP Performers 9
6. 2. Counting to Four: The flûte du quatre in Charles Dieupart’s Six Suittes (1701) 29
7. 3. The French Style of Viol Bowing and the enflé in the Works of Marin Marais 52
8. 4. Contextual History through Rhetorical Visuality in Performing Monteverdi’s Il pianto della Madonna 72
9. PART TWO. Performance as Celebration and Conservation
10. 5. Celebrating and Enhancing a Virtual Past through Singing: The Polynesian Community on Takū 101
11. 6. Reimagining Traditional Ritual Music of Sabah for Contemporary Performance as a Means of Conservation 115
12. PART THREE. Performing War
13. 7. Historical Fidelity and Creative License in two Viennese Battles of the Nile 139
14. 8. Gallipoli to the Somme: A Musical Witness to History 160
15. 9. Britten’s Primal Scream 181
16. PART FOUR. Staging Power and Enlightenment
17. 10. Staging Power: The Role of Duchess Sophie Elisabeth of Braunschweig-Lüneburg (1613–76) in Wolfenbüttel Court Festivities of the 1650s 197
18. 11. An Enlightened Future History on the Milan Opera Stage: Niccolò Piccinni’s Il regno della Luna 216
19. PART FIVE. Performing the Body and the Senses
20. 12. “A New World is Opened up to View”: Orchestral Gesture in Berlioz’s Roméo et Juliette 249
21. 13. Italian Futurism: Music and the Senses in the Modern Age 283
22. PART SIX. Performing the Popular
23. 14. “Saxophones Sobbed Out Jazz”: New Zealand’s First Jazz Recording 301
24. 15. “To Display Her Chief Accomplishment”: Domestic Manuscript Music Collections in Colonial Australia 320
25. Author Biographies 337
26. Index 341