By John Rink
This e-book unravels the complexities of enjoying tune and divulges facets of studying, enjoying and responding to song appropriate to performances of all degrees. A survey of functionality throughout the a while ends up in a presentation of simple old, analytical and mental suggestions. 4 chapters stick with on instructing, improvement, perform and memorization. the subsequent part considers the "translation" from ranking to sound, actual projection, ensemble enjoying and function anxiousness. the ultimate part addresses the act of listening, the legacy of recordings, song feedback and "performers on performance".
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Extra info for Musical performance: a guide to understanding
Moore, The Beatles: Sgt. Pepper’s Lonely Hearts Club Band (Cambridge: Cambridge University Press, 1997), 59. 11 Serge Dorny, ‘Vital signs’, BBC Music Magazine (October 1999), 53–4. : Harvard University Press, 1952), 170–1. 13 Richard Taruskin, Text and Act: Essays on Music and Performance (New York and Oxford: Oxford University Press, 1995), 98. ’, Early Music, 25 (1997), 567. 15 Note to The Hanover Band’s recording of Beethoven’s First Symphony and First Piano Concerto, Nimbus 5003 (1982). : Harvard University Press, 1957), 346.
Five principles can be outlined on the basis of the discussion above: (1) Temporality lies at the heart of performance and is therefore fundamental to ‘performer’s analysis’. (2) Its primary goal is to discover the music’s ‘shape’, as opposed to structure, as well as the means of projecting it. (3) The score is not ‘the music’; ‘the music’ is not conﬁned to the score. (4) Any analytical element that impinges on performance will ideally be incorporated within a larger synthesis inﬂuenced by considerations of style (broadly deﬁned), genre, performance tradition, technique, instrument and so on, as well as the performer’s individual artistic prerogatives.
7 In 1989 Jonathan Dunsby questioned the legitimacy of such injunctions, claiming that ‘understanding and trying to explain musical structure is not the same kind of activity as understanding and communicating music. 8 In a later response, I countered that ‘performers are continually engaged in a process of “analysis”, only of a kind different from that employed in published analyses. This sort of “analysis” is not some independent procedure applied to the act of interpretation’ but rather ‘an integral part of the performing process’.
Musical performance: a guide to understanding by John Rink