Practice in Context

Claire Holden was awarded an AHRC (UK) Fellowship in the Creative and Performing Arts in 2010 (researching early nineteenth-century violin playing) working at Cardiff University as a researcher and teaching HIP modules. Claire joined the University of Oxford as Research Fellow in 2014, becoming Principal Investigator on the 5 year, AHRC-funded Transforming Nineteenth-Century Historically Informed Practice in 2016. As a violinist Claire performs with many period-instrument ensembles and has been a member of the Orchestra of the Age of Enlightenment since 2000. She gives lectures, workshops and masterclasses in many UK and European universities and conservatoires. Eric F. Clarke is Emeritus Professor of Music at the University of Oxford, and an Emeritus Fellow of Wadham College. He studied neuroscience and music at the University of Sussex and completed a PhD in psychology at the University of Exeter. He held posts at City University, London, was J. R. Hoyle Professor of Music at theUniversity of Sheffield, and Heather Professor of Music at Oxford. He has published on various topics in the psychology of music, ecological approaches to music perception, musical meaning, music and consciousness, and musical creativity. He is a member of Academia Europaea, and a Fellow of the British Academy.Dr. Cayenna Ponchione-Bailey is an orchestral conductor and Director of Performance at St Catherine's College, University of Oxford. Her research focuses on the social-psychological and socio-political aspects of orchestral music-making; from the intricacies of co-performer communication in modern and historically informed contexts, to the politics of participation and orchestras' geo-political significance. She completed her doctorate in Music at the University of Oxford under the supervision of Eric F. Clarke, was a post-doctoral researcher on the Transforming 19th-Century Historically Informed Practice at Oxford and has held a Leverhulme Early Career Research Fellowship at theUniversity of Sheffield.

• 1: George Kennaway: Nineteenth-Century Musicalities in the Twenty-First Century2: Christina Bashford: Staging Chamber Music: Towards New Intersections of Performance Practice and Concert History3: Mary Hunter: How Special Is Nineteenth-Century Performance Practice?4: Marten Noorduin: The Rehearsal Practices of the London Philharmonic in the Early to Mid-Nineteenth Century5: Trevor Herbert: Bands as Musical Subcultures: Cultures, Practices and Influences6: David Milsom: String Sonority in the Nineteenth and Early Twentieth Centuries7: Anna Scott: To Change One's Skin According to the Music at Hand: Locating the Transformative Power of Recordings-Informed Performance8: Emily Worthington: HIP, Embodied Knowledge, and the Practice of Harmoniemusik9: Neal Peres Da Costa: Concepts of Beautiful in Nineteenth-Century Musical Performance: Reinvigorating Artistic Personality and Spontaneous Creativity10: Claire Holden: 'The Liberty to "Sing" to Their Heart's Content': Principles and Practices of Ensemble in Nineteenth-Century Orchestral String Sections11: Eric F. Clarke and Cayenna Ponchione-Bailey: String Sound in the Round: Methods, Outcomes, and Implications of Experimental Approaches to Nineteenth-Century String Playing