{"id":1664,"date":"2010-07-21T12:16:20","date_gmt":"2010-07-21T11:16:20","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=1664"},"modified":"2010-07-21T12:16:20","modified_gmt":"2010-07-21T11:16:20","slug":"historically-informed-the-new-contemporary-music","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/07\/21\/historically-informed-the-new-contemporary-music\/","title":{"rendered":"Historically-informed: the new contemporary music ?"},"content":{"rendered":"<p><img loading=\"lazy\" class=\"alignright size-medium wp-image-1666\" style=\"margin-left: 5px;margin-right: 5px;border: white 5px solid\" title=\"orchestra\" src=\"http:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/07\/orchestra-300x257.jpg\" alt=\"The orchestra\" width=\"240\" height=\"206\" srcset=\"https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/07\/orchestra-300x257.jpg 300w, https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/07\/orchestra.jpg 350w\" sizes=\"(max-width: 240px) 100vw, 240px\" \/>Is period-instrument reconstruction of Baroque and Classical music the new contemporary music ? And should performances by modern orchestras or pianists using contemporary pianos take period-practice into account ? Would Mozart and Beethoven have approved ?<\/p>\n<p>Thoughts on all these questions and more in my article published on <a href=\"http:\/\/www.bachtrack.com\" target=\"_blank\">Bachtrack<\/a> this morning: <a href=\"http:\/\/www.bachtrack.com\/historically-informed-performance\" target=\"_blank\">click here to read<\/a>.<\/p>\n<ul class=\"kent-social-links\"><li><a href='http:\/\/www.facebook.com\/sharer.php?u=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/07\/21\/historically-informed-the-new-contemporary-music\/&amp;t=Historically-informed: the new contemporary music ?' target='_blank'><i class='ksocial-facebook' title='Share via Facebook'><\/i><\/a><\/li><li><a href='http:\/\/twitter.com\/home?status=Historically-informed: the new contemporary music ?%20https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/07\/21\/historically-informed-the-new-contemporary-music\/' target='_blank'><i class='ksocial-twitter' title='Share via Twitter'><\/i><\/a><\/li><li><a href='https:\/\/plus.google.com\/share?url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/07\/21\/historically-informed-the-new-contemporary-music\/' target='_blank'><i class='ksocial-google-plus' title='Share via Google Plus'><\/i><\/a><\/li><li><a href='http:\/\/linkedin.com\/shareArticle?mini=true&amp;url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/07\/21\/historically-informed-the-new-contemporary-music\/&amp;title=Historically-informed: the new contemporary music ?' target='_blank'><i class='ksocial-linkedin' title='Share via Linked In'><\/i><\/a><\/li><li><a href='mailto:content=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/07\/21\/historically-informed-the-new-contemporary-music\/&amp;title=Historically-informed: the new contemporary music ?' target='_blank'><i class='ksocial-email' title='Share via Email'><\/i><\/a><\/li><\/ul>","protected":false},"excerpt":{"rendered":"<p>Is period-instrument reconstruction of Baroque and Classical music the new contemporary music ? And should performances by modern orchestras or pianists using contemporary pianos take period-practice into account ? Would Mozart and Beethoven have approved ? Thoughts on all these questions and more in my article published on Bachtrack this morning: click here to read.<\/p>\n","protected":false},"author":620,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1110],"tags":[1315,1266],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1664"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/users\/620"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/comments?post=1664"}],"version-history":[{"count":7,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1664\/revisions"}],"predecessor-version":[{"id":1672,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/1664\/revisions\/1672"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/media?parent=1664"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/categories?post=1664"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/tags?post=1664"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}