THE study of recordings as evidence of interpretation and performance style is without a doubt one of the most seminal revolutions in contemporary musicological research. Over the years, this vast abundance of documented data has been gradually recognized as fundamental in the identification of prevailing norms of practice, influential personalities, and changes of performance style occurring over time. Within the growing community of scholars engaged in the topic, Dorottya Fabian has long been considered a central figure in the study of violin recorded performances. This book serves as a continuation of her detailed investigation of recordings made over the years of Bach's Sonatas and Partitas for solo violin a study which has been ongoing for more than two decades. While previous research has been mainly focused on Bach's violin set recordings made from the beginning of the last century to around the 1970s, the book focuses on contemporary recordings made during recent decades (roughly comprising the period between 1980-2010). As such, it aims to examine current performance traits while addressing some of the most intriguing issues connected to the study of performance.

中文翻译：

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Dorottya Fabian，表演音乐学：基于巴赫独奏小提琴的理论和方法

毫无疑问，将唱片研究作为解释和演奏风格的证据是当代音乐学研究中最具开创性的革命之一。多年来，大量的书面数据已逐渐被认为是识别现行实践规范，有影响力的人格以及随着时间而发生的演奏风格变化的基础。在越来越多的从事该主题研究的学者社区中，多罗蒂娅·法比安（Dorottya Fabian）长期以来一直被认为是小提琴演奏研究的中心人物。这本书是她对巴赫独奏小提琴多年来奏鸣曲和巴赫奏鸣曲的详细调查的延续，该研究已经进行了二十多年。虽然先前的研究主要集中在巴赫 本书是从上世纪初到1970年代左右制作的小提琴唱片，该书着重介绍了近几十年来（大致包括1980-2010年之间）的当代唱片。因此，它旨在检查当前的绩效特征，同时解决与绩效研究相关的一些最有趣的问题。