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Teaching the Eighteenth Century:
Historical Study through Performance

Sarah McCleave

NOTES

1. This article originated in a poster session for ASECS Vancouver, "Teaching the Eighteenth Century," which was convened by Diane Kelley. I am grateful to her for the opportunity to display my work, learn from colleagues, and also for her kind assistance in developing this article. My poster was organized under the following headings: "The Learning Journey," "Workshop Experiences," "Application of Research to Practice: Reading," "Application of Research to Practice: Viewing," "Teamwork – New Perspectives," and "Ownership Facilitates Deep Engagement." It featured excerpts of past students' learning journals. I have integrated these and the accompanying illustrations into the present article. I would like to thank Craig Jackson and Dermot McBride for technical assistance with this project.

WORKS CITED

Barnett, Dene, with Jeanette Massy-Westropp. The Art of Gesture: The Practices and Principles of 18th-Century Acting. Heidelberg: C. Winter, 1987. Print.

Bells’ British Theatre, consisting of the most esteemed English plays [with plates]. London: John Bell, 1776–1778. 20 vols. Eighteenth-Century Collections Online. Web. 1 June 2011.

Benedetti, Jean. The Art of the Actor: The Essential History of Acting, from Classical Times to the Present Day. London: Methuen, 2008.  Print.

Dean, Winton.  Handel and the Opera Seria. London: Oxford UP, 1970. Print.


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Henshaw, Collette. "Gesture and Affect in the Performance of English Baroque Music: An Introductory Bibliography." A Handbook for Studies in Eighteenth-Century English Music XI.Ed. Michael Burden. Oxford: Burden and Cholij, 2000. 70–87. Print.

Hilton, Wendy. Dance and Music of Court and Theatre: The French Noble Style 1690–1725. Ed. Caroline Gaynor. London: Dance Books, 1981. Print. Dance and Music 10.

Lalonger, Edith. "J.F. Rebel’s Les Caractères de la danse: Interpretative Choices and their Relationship to Dance Research." Dance and Music in French Baroque Theatre: Sources and Interpretations. Ed. Sarah McCleave. London: IAMS (King's College), 1998. 105–23. Print. Institute of Advanced Musical Studies Study Text 3.

Lax, Janet. "echniques of Acting in Baroque Opera." BMus dissertation, University of Birmingham, n.d. Print.

McAlpine, Lynn. "Designing Learning as well as Teaching: A Research-Based Model for Instruction that Emphasizes Learner Practice." Active Learning in Higher Education 5.2 (2004): 119–34. Print.

Quantz, Johann Joachim. On Playing the Flute. Ed. and Trans. Edward R. Reilly. London: Faber, 1966. Print.

Solomon, Nicholas. "Signs of the Times: A Look at Late 18th-Century Gesturing." Early Music 17 (1989): 551–64. Print.

Wilkes, Thomas. A General View of the Stage. London: J. Coote, 1759. Eighteenth-Century Collections Online. Web. 1 June 2011.

Wilson, David, ed. and trans. Georg Muffat on Performance Practice: A New Translation with Commentary: The Texts from Florilegum Primum, Florilegum Secondum, and Auserlesene Instrumentalmusik. Bloomington: Indiana UP, 2001. Print.

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