This chapter examines Messiaen’s engagement with Japan. French artists’ fascination with Japan has a long history, dating back at least to the Paris World Exposition of 1867, and in return many Japanese artists – including composers – have discovered a reciprocal affinity with aspects of French aesthetic sensibility. It was therefore entirely to be expected that Messiaen, as a French composer with a long-standing interest in Eastern cultures, would succumb to this same fascination after his visit to Japan in 1962, which resulted in the composition of his Sept Haïkaï – and that his work would also exert a profound influence on several Japanese composers of the postwar generation, above all Toru Takemitsu.

The final chapter has two objectives. It first of all traces the performance history of Schumann’s Concerto in the decades after the composer’s death, focusing on London, Vienna, Leipzig, New York and Manchester, and the advocacy of particular pianists, primarily but not exclusively Clara Schumann. It examines critical responses to the work and the ways in which opinion changes over time, evolving from outright hostility and complaints about audacious modernity in the 1850s and 1860s to canonical acceptance and hagiography by the end of the nineteenth century. The chapter’s second objective is to evaluate the work’s compositional reception by exploring the uses of Schumann’s formal and expressive techniques in subsequent concerti, including both canonical music by Brahms, Grieg, Tchaikovsky and Rachmaninov and lesser-known examples by Scharwenka, Beach, Stanford and MacDowell.

Messiaen held the titular position as organist at L’église de la Sainte-Trinité in Paris for more than sixty years. He recorded most of his own works on this instrument, so this chapter begins by noting the importance of these recordings, and in particular the way they proscribed a “manner of performance” for his organ works that would be dominant for more than fifty years. It then discusses recordings by other organists on other instruments, and how they differ from the composer’s recordings. The discussion focuses on those who have recorded the entire repertoire, but also considers notable recordings of single pieces.

This chapter examines Messiaen’s long involvement with the USA. It discusses commissions, his relationship with notable figures, his teaching there, and the genesis and performance of both the Turangalîla-Symphonie and Des canyons aux étoiles…, including Messiaen’s admiration for the mountains in Utah. It also explores Messiaen as a performer of his own music in America (he premiered the Méditations sur le mystère de la Sainte-Trinité), the commissioning and performance of the Livre du Saint-Sacrement, and the orchestral éclairs sur l’Au-delà….

While academic reactions to jazz were long dominated by a methodology drawn from musicology, attentive to composition and transcribed solos as forms, scholarship over the past few decades– amid the interdisciplinary shift of “the new jazz studies”– has articulated in ever more assertive terms that “meaning” in jazz depends not only on what is played, but how. This chapter responds to this interdisciplinary shift by thinking through the importance of performance to a comprehensive understanding of jazz expression, and the usefulness of African American studies and performance studies in conceptualizing the various theatrical and gestural vocabularies at work in jazz. Using examples from Thelonious Monk, Wynton Marsalis, and Ornette Coleman, this chapter examines in detail how we might understand jazz not just as music but as an extension of historical Afro-diasporic expressive practice, a construction of individual musical personae, and an ongoing aesthetic response to the persistent malice of white supremacy.

This chapter details the history of Messiaen’s family. It examines Messiaen’s relationships with his parents, Pierre Messiaen and Cécile Sauvage, his two wives, Claire Delbos and Yvonne Loriod, and his son Pascal. It reveals that Messiaen’s private life was complex and sometimes difficult, but also that these relationships had a profound effect on his understanding of himself as a composer, his compositions, and the performance of his music.

Messiaen’s cahiers de notations des chants d’oiseaux tell us a great deal about how he fashioned works such as Oiseaux exotiques and Catalogue d’oiseaux from birdsong notations made in the wild and from recordings. Of what benefit can they be to performers? This chapter shows how insights the cahiers give into Messiaen’s imaginative world can influence performers’ approaches, offering perspectives on Messiaen’s perceptions of the ‘artistry’ of the birds, which are not always apparent from the published scores.

Matthew Schellhorn, who attended lessons with Loriod in the 2000s, discusses her background and her personal and artistic involvement with Messiaen. He examines her as an artist in her own right, discussing her discography, her own compositions, and her activities as a teacher, and thereby brings her character into focus.

Some of the major influences on Berlioz were the new experiences that he likened to a thunderbolt. Literary influences came from Britain and Ireland (Thomas Moore, Walter Scott, and especially Shakespeare); from Germany (Goethe); and from France (Victor Hugo). The coup de foudre were performances of Hamlet and Romeo and Juliet, with Harriet Smithson (1827). He was mainly brought up on French music – songs and extracts from operas. Once in Paris, he came to admire the French operas of Gluck, and Weber’s Der Freischütz affected him strongly. However, the musical coup de foudre was Beethoven, whose example led him to cast his ideas in symphonic form. Once completed, the work must be performed; and when Berlioz took to conducting his own music and promoting it outside France, Symphonie fantastique, or selections from it, featured in many of his concerts.

Narrative coaching is recognised as a useful form of coaching. In reality, most forms of coaching are about narrative. People have narratives about their lives or work, and they want to change these narratives for something a little better. Coaching is about adapting and changing these narratives. Narrative coaching as discussed by Drake is a specific form of coaching that is about learning, change and growth, with four key stages: situate, search, shift and sustain. Narrative coaching is discussed in this and in broader terms. One of the problems with narrative coaching and coaching generally is that there is little evidence that it is effective. There is little evidence that it is not effective, so the science is in need of development.

This chapter lays out the theoretical underpinning of self-regulated learning and the overlap between self-regulated learning and science and engineering practices. Examples of the cognitive processes of a self-regulated learner are explained as they attempt a learning task and travel through the cycle of forethought, performance, and self-reflection. Self-regulated learning cycles from both a naive and a skilled learner are explained. Examples of teacher support for each phase of self-regulated learning are described within the context of science and engineering practices.

In this chapter, I consider how we might address the legacies of race and racism in The Magic Flute and its performance history, and what opportunities there might be to re-envision the Singspiel, by looking at parallels with Shakespeare repertory and #ShakeRace studies. Scholars working at the intersections of premodern critical race theory, postcolonial studies, Shakespeare studies, and performance studies have for decades considered how what Kim Hall calls “race thinking” permeates Shakespeare’s texts, contexts, and audiences, as well as productions and interpretations in our own time. What kind of freedom or flexibility might we have to adapt, translate, appropriate, and “unsettle” The Magic Flute in scholarship, performance, and pedagogy, by taking our cue from experimental approaches to Shakespeare?

This chapter explores the dramatic performance of libel. Aggrieved amateur playmakers across England made canny use of costume, props, meter, and other theatrical technologies to disseminate libels. Drawing from the Star Chamber records, the first section surveys the varieties of media and performance genres employed by libelers, including festive games, pageants, songs, and shows; street theater; and professional playing. Examples such as the Wells Shows of 1607, “The Death of the Lord of Kyme” in 1601, and even Shakespeare’s Merry Wives of Windsor illustrate the thorough hybridity of libelous performance. The rest of the chapter is devoted to two major case studies: the Kendal Stage Play of 1621 and the university play Club Law (1599–1600). These are prime examples of activist theater: they aimed not just to entertain their audiences but also to mobilize them, defame them, or otherwise incite them to action. Situated in their respective local contexts – the struggle over tenant right in Kendal and town–gown conflict in Cambridge – the surviving traces of these plays document the circulation of communal feelings that made libelous performance such a potent medium for bad publicity.

This chapter centers voices that are traditionally excluded from the anthropological canon in order to read a feminist praxis back into anthropology’s feminist theory and methodology. The authors excavate key debates and practices that yield insight into the liberatory potentiality of feminist anthropology. First, they explore questions around gender, sexuality, and the authority of the knowledge producer. Then, they query how the sexual and gendered mythos of the researcher clings to their research and the way the researcher is integrated into the field of anthropology, taking examples from anthropological history and debates around auto-ethnography. The third section explores how self-knowledge folds into feminist traditions of situated knowledges, particularly as it is engaged by Black feminist anthropologists, women of color, and queer thinkers. The fourth section revisits the work of performance and choreography in our field, navigating the political forces and forms of embodiment revealed through these methodological approaches. The chapter ends by drawing together questions of authority, autoethnography, situated knowledge, and the high stakes of performance through the case of sexual and gender-based violence to illustrate methodological and epistemological possibilities within anthropological research.

This chapter considers the complex task of editing Puccini’s works, informed by the production of the Ricordi critical edition (launched in 2008 and ongoing). An abundance of materials exist upon which the editor can draw, including autographs, sketches, printed editions, and correspondence, thanks to Puccini’s close and long relationship with the Ricordi firm. However, some gaps exist in the surviving sources, and some sources disagree with others. The author explains that the editor must choose a text on which to base the edition, drawing on further sources as necessary to make informed interventions, striving to get as close as possible to the composer’s intentions, but mindful of the fact that his intentions and preferences changed over time. In Puccini’s case, second editions usually reflect the works as performed at their premieres, the first edition already becoming obsolete in rehearsal. The chapter discusses the various decisions and interventions that an editor must make in order to make an edition both faithful and usable. Puccini’s working method and process of revising his operas are discussed in detail. The chapter ends by asking whether early recordings, as well as printed and written documents, should inform an edition.