Mazzola Musical Performance

A Comprehensive Approach: Theory, Analytical Tools, and Case Studies
2011
ISBN: 978-3-642-11838-8
Verlag: Springer
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 290 Seiten

Reihe: Computational Music Science

This book is a first sketch of what the overall field of performance could look like as a modern scientific field but not its stylistically differentiated practice, pedagogy, and history. Musical performance is the most complex field of music. It comprises the study of a composition's expression in terms of analysis, emotion, and gesture, and then its transformation into embodied reality, turning formulaic facts into dramatic movements of human cognition. Combining these components in a creative way is a sophisticated mix of knowledge and mastery, which more resembles the cooking of a delicate recipe than a rational procedure.  This book is the first one aiming at such comprehensive coverage of the topic, and it does so also as a university text book. We include musicological and philosophical aspects as well as empirical performance research. Presenting analytical tools and case studies turns this project into a demanding enterprise in construction and experimental setups of performances, especially those generated by the music software Rubato.  We are happy that this book was written following a course for performance students at the School of Music of the University of Minnesota. Their education should not be restricted to the canonical practice. They must know the rationale for their performance.  It is not sufficient to learn performance with the old-fashioned imitation model of the teacher's antetype, this cannot be an exclusive tool since it dramatically lacks the poetical precision asked for by Adorno's and Benjamin's micrologic. Without such alternatives to intuitive imitation, performance risks being disconnected from the audience.   

Autoren/Hrsg.

Mazzola, Guerino

Inhaltsverzeichnis

1;Preface;6
2;Contents;9
3;Part I Introduction;14
3.1;1 Introduction and Overview;15
3.2;2 List of Symbols;19
3.3;3 Short History of Performance Theory;23
3.3.1;3.1 The Philosophical Tradition;24
3.3.2;3.2 The Empirical Tradition;28
3.4;4 Oniontology;33
3.4.1;4.1 Realities;34
3.4.2;4.2 Communication;35
3.4.3;4.3 Semiotics;36
3.4.4;4.4 Embodiment;37
3.4.5;4.5 The Baboushka Principle;38
3.4.6;4.6 Topography of Performance;39
3.4.7;4.7 Semiotic Expressivity;40
3.4.8;4.8 Rhetorical Expressivity;42
3.4.9;4.9 CSI Anatomy;43
3.4.10;4.10 ISC Anatomy;45
3.4.11;4.11 Multi-agent Communication;46
3.4.12;4.12 The Performer's Balanced Dancing Presence;48
4;Part II Structure Theory;53
4.1;5 What Is Structure Theory?;54
4.2;6 Tempo Curves;58
4.2.1;6.1 What is Tempo?;59
4.2.1.1;6.1.1 Some Remarks on the History and Ethnography of Tempo;63
4.2.2;6.2 Calcuating Time from Tempo;65
4.3;7 Tuning, Intonation, and Dynamics;68
4.3.1;7.1 Tuning and Intonation;69
4.3.2;7.2 Dynamics;78
4.4;8 Combining Tempo, Tuning, and Dynamics;80
4.5;9 Articulation;87
4.6;10 General Performance Fields;90
4.6.1;10.1 General Performance Fields;90
4.6.2;10.2 Initial Sets;92
4.6.3;10.3 Measuring Performance Fields;93
4.7;11 The Category of Performance Cells and Hierarchies;95
5;Part III Expressive Theory;99
5.1;12 What Is Expressive Theory?;100
5.1.1;12.1 Experiments in Expressive Performance;102
5.2;13 Emotional Expression;104
5.2.1;13.1 What is Emotion?;104
5.2.2;13.2 Some Physiological Evidences;107
5.2.3;13.3 Manfred Clynes' Essentic Forms;112
5.2.4;13.4 Reinhard Kopiez' and J org Langner's Theory of Oscillating Systems;113
5.2.5;13.5 Anders Friberg's Feature-based Model;114
5.2.6;13.6 Alf Gabrielsson's Isomorphism;117
5.3;14 Gestural Expression;121
5.3.1;14.1 General Facts About Gesture Theory in Music;121
5.3.2;14.2 Roger Sessions: Gestures in Performance;122
5.3.3;14.3 Theodor Wiesengrund Adorno's Gesture Theory in Musical Reproduction;124
5.3.4;14.4 Renate Wieland's Gestural Piano Pedagogy;127
5.3.5;14.5 Manfred Clynes' Essentics as a Theory of Gestural Expressivity;129
5.3.6;14.6 Johan Sundberg, Neil P. McAgnus Todd: Mechanical Models of Gestures in Music;130
5.3.7;14.7 Guerino Mazzola and Stefan M uller: Modeling the Pianist's Hand;132
5.3.7.1;14.7.1 Modeling the Hand;133
5.3.7.2;14.7.2 Transforming Abstract Note Symbols into SymbolicGestures;133
5.3.7.3;14.7.3 Deforming Symbolic Hand Gestures into Physically ValidCurves;135
5.3.8;14.8 A Mathematical Gesture Theory;135
5.3.9;14.9 Anders Friberg, Antoni Camurri et al.: Computer-aided Emotional Analysis of Performance;138
5.4;15 Analytical Expression;140
5.4.1;15.1 Adorno's Analytical Performance Study of Webern's First Bagatelle;141
5.4.2;15.2 Anders Friberg, Johan Sundberg, and Lars Fryd en: Director Musices Performance Software;148
5.4.3;15.3 Guerino Mazzola and Oliver Zahorka: The Rubato Theory of Analytical Performance;151
5.5;16 Analytical Weights;154
5.5.1;16.1 Metrical Weights;155
5.5.2;16.2 Melodic Weights;159
5.5.3;16.3 Harmonic Weights;160
5.5.4;16.4 Primavista Weights;162
5.6;17 Shaping Operators;164
5.6.1;17.1 Are Lie Type Operators Universal?;166
5.7;18 Two Generic Models and the Challenge of Improvisation;168
5.7.1;18.1 The GERM Model;168
5.7.2;18.2 Todd's Generic Approach;169
5.7.3;18.3 The Challenge of Improvisation;170
5.7.3.1;18.3.1 Expansion of Improvisational Time-Spaces;172
5.7.3.2;18.3.2 The Analysis;175
5.8;19 String Quartet Theory;178
5.8.1;19.1 Historical and Theoretical Prerequisites;179
5.8.2;19.2 The General Plan;182
5.8.2.1;19.2.1 General Position for Performance: Four Examples;183
5.8.3;19.3 The Sound Space of the Violin Family;185
5.8.4;19.4 Notes in General Position;187
5.8.5;19.5 Performance of the String Quartet;188
6;Part IV Rubato: Model and Software;190
6.1;20 Performance Scores;191
6.2;21 Stemma Theory;194
6.2.1;21.1 Tempo Hierarchies in the;196
6.2.2;Software;196
6.2.3;21.2 The General Stemma Concept;199
6.2.4;21.3 The New Performance Rubette: Realtime, Openness, and Gesturality;202
6.3;22 Case Studies;204
6.3.1;22.1 Schumann's : The First Performance Experiment with RUBATO;204
6.3.2;22.2 Schumann's Kuriose Geschichte: The First
Analytically Complete Performance Experiment with
RUBATOr;209
6.3.3;22.3 Joachim Stange Elbe's Performance of Johann Sebastian Bach's;211
6.3.3.1;22.3.1 Rhythmical Analysis;212
6.3.3.2;22.3.2 Motif Analysis;212
6.3.3.3;22.3.3 Target-driven vs. Experimental Stemma Constructions;214
6.3.3.4;22.3.4 Performance Setup;214
6.3.3.5;22.3.5 Construction of Third Performance Parcours;215
6.3.3.6;22.3.6 Final Discussion;216
6.4;23 Statistics;220
6.4.1;23.1 Hierarchical Decomposition of Weights;221
7;Part V Inverse Performance;227
7.1;24 What Is Inverse Performance Theory?;228
7.1.1;24.1 Technical Aspects;229
7.1.1.1;24.1.1 Reconstruction of the Performance Map from RecordingData;229
7.1.1.2;24.1.1.1 Matching Algorithms;229
7.2;25 The Technical Setup;232
7.3;26
Schumann's Tr aumerei: Argerich vs. Horowitz;236
7.4;27 Rethinking Music Critique;239
7.4.1;27.1 Boiling Down In nity;239
7.4.2;27.2 Glenn Gould's Politically Incorrect Performance;240
8;Part VI Epilogue;244
8.1;28 Summary of Performance Theory;245
8.2;29 Future Developments;248
9;Part VII References, Music Examples, Index;250
9.1;References;251
9.2;Music Examples;258
9.3;Index;260