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dc.contributor.authorWerlemann-Godfrey, Harrison Theodore Cleveland
dc.date.accessioned2019-08-08
dc.date.available2019-08-08
dc.date.issued2019-02-01
dc.identifier.urihttp://hdl.handle.net/2123/20861
dc.description.abstractThis thesis concerns itself with the manner in which history is perceived, produced, marketed, and received through the medium of classical music performance. Specifically, it is concerned with a group of classically-trained musicians operating in Sydney, Australia who describe their practice as ‘historical’ or (at the very least) ‘historically informed’. In this thesis, I introduce the reader to the world of Historically Informed Performance, or ‘HIP’ as it is acronymized by insiders. Specifically, this thesis sets out as an ethnography of HIP grounded in participant-observation. Drawing on phenomenological and semiotic theories of J. Lowell Lewis and Samuel Weber it seeks to answer the questions: ‘what is the Historically Informed Performance ‘movement’ to insiders, and how do they police its boundaries? And what sort of thing is HIP to insiders?’ Looking firstly to texts on and in HIP, this approach reveals a struggle between two seemingly irreconcilable insider discourses of HIP: on the one hand the historical ‘Authenticist’ position and on the other the ‘nondogmatic’ or ‘Experimentalist’ position. However, this thesis argues that such discursive definitions, while important, do not accurately describe HIP, and in the best case, they must be disseminated into practice. As such, notions of Historicity, Authenticity and Experimentalism must be understood as performed on an embodied level in events; through interacting habituated and habituating bodies. In this sense, HIP is constructed out of much more than rigidly defined notions of historicity. It is borne as much of a specific and contingent intimacy, the enactment of historical, consensual social-roles and the complex discipline of instrumental practices.en_AU
dc.rightsThe author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.en_AU
dc.subjectHIPen_AU
dc.subjectEthnographyen_AU
dc.subjectAuthenticityen_AU
dc.subjectHistorically Informed Performanceen_AU
dc.subjectExperimentalen_AU
dc.subjectSydneyen_AU
dc.titleHistory, Authenticity and the Experimental : An Ethnography of the Historically Informed Performance Movement in Sydney, Australia 2016-2017en_AU
dc.typeThesisen_AU
dc.type.thesisMasters by Researchen_AU
usyd.facultyFaculty of Arts and Social Sciences, School of Literature, Art and Mediaen_AU
usyd.departmentDepartment of Theatre and Performance Studiesen_AU
usyd.degreeMaster of Philosophy M.Philen_AU
usyd.awardinginstThe University of Sydneyen_AU


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