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A Musicology of Performance
  1. John Rink the Practice of Performance- Studies in Musical Interpretation 2005
  2. Performance studies
  3. by Cambridge University Press
  4. Artistic Research in Classical Music Performance – PARSE

In his defining statement of performance theory, "Our center is in the interaction between readers and texts which enriches, extends, clarifies, and yes alters the interior and even the exterior lives of students [and performers and audiences] through the power of texts" Literature in Performance , Vol 5 No 1, ; p. In addition, Robert Breen's text Chamber Theatre is a cornerstone in the field for staging narrative texts, though it remains controversial in its assertions about the place of narrative details in chamber productions. Breen is also regarded by many as a founding theorist for the discipline, along with advocate Louise Rosenblatt.

More recently, performance theorist and novelist Barbara Browning has suggested that narrative fiction itself—and particularly the novel—demands the performative participation of the reader. An alternative origin narrative stresses the development of speech-act theory by philosophers J. The theory proposed by Austin in How To Do Things With Words states that "to say something is to do something , or in saying something we do something, and even by saying something we do something".

For any of these performative utterances to be felicitous, per Austin, they must be true, appropriate and conventional according to those with the proper authority: a priest, a judge, or the scholar, for instance. Austin accounts for the infelicitous by noting that "there will always occur difficult or marginal cases where nothing in the previous history of a conventional procedure will decide conclusively whether such a procedure is or is not correctly applied to such a case".

She cites Rosa Parks as an example:. When Rosa Parks sat in the front of the bus, she had no prior right to do so guaranteed by any…conventions of the South. And yet, in laying claim to the right for which she had no prior authorization, she endowed a certain authority on the act, and began the insurrectionary process of overthrowing those established codes of legitimacy.

The question of the infelicitous utterance the misfire is also taken up by Shoshana Felman when she states "Infelicity, or failure, is not for Austin an accident of the performative, it is inherent in it, essential to it. In other words…Austin conceives of failure not as external but as internal to the promise, as what actually constitutes it. Performance studies has also had a strong relationship to the fields of feminism, psychoanalysis , critical race theory and queer theory.

Performance studies incorporates theories of drama , dance , art , anthropology , folkloristics , philosophy , cultural studies , psychology , sociology , comparative literature , communication studies , and increasingly, music performance. For more information on the different origins and disciplinary traditions of performance studies see Shannon Jackson's book Professing Performance and the introductory chapter in Nathan Stucky and Cynthia Wimmer's Teaching Performance Studies. NYU is generally characterized as a program that pushed the definitions of theatrical practice influenced by the theatrical avant-garde thus expanding its definition of what can be framed as an event.

Interaction with departments that include NYU 's Postdoctoral Program in Psychoanalysis and Psychotherapy have made this an ongoing pursuit.

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Northwestern transitioned from an elocution and performance of literature tradition to expand its definition of presentational aesthetics beyond oral interpretation. Northwestern's unique brand of performance studies has its origins in anthropology , having been started by the ethnographer Dwight Conquergood with the goal of understanding all manner of local cultures through their performance practices.

In the United Kingdom Aberystwyth University offers a degree scheme in performance studies with highly acclaimed performance artists such as Mike Pearson, Heike Roms and Jill Greenhalgh. Part of the conservatoire, the course focused on investigating performance practically, with strong emphasis on the idea of Practice as Research.

The programme was led by Dr Laura Cull, founder of the now multinational Centre for Performance Philosophy ; a new strand of Performance Studies which attempts to develop the relationship between philosophy and performance. In Denmark Roskilde University offers a master and ph.

John Rink the Practice of Performance- Studies in Musical Interpretation 2005

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Performance studies

Make an Offer. Find Rare Books Book Value. Sign up to receive offers and updates: Subscribe. The music experience is the thing that needs explaining, rather than being that explanation. Most of what goes on in the causal process might, in fact, not be consciously available.

by Cambridge University Press

Show me a novelist, a painter, an architect, a cook, who has not, like God, been surprised, overcome, ravished by what she was—what they were—no longer doing. As introduced in chapter one, the typical inadequacy of words including metaphors for the particulars of bodily, somatic, kinaesthetic, aural and psychological experience or action is the biggest obstacle in researching music, especially performance. A good example comes from a recent DVD where the eminently articulate and inquisitive Pieter Wispelwey is struggling to explain the difference between the sounds of his two different baroque cellos.

What this episode makes blatantly clear, however, is the phenomenon that what is in the mind arms, fingers, ears, whole body of a performer may not always be audible for the outside listener. It leads us to look for what we can measure and make us think we explained what is not yet measurable. Such an approach fosters categorization, ossification, homogenization and normative thinking.

Echoic memory is an auditory sensory memory that persists for several seconds, after which it is lost unless attended to. It permits us to maintain a temporal window wide enough to recognize a dynamic sound or parse a phrase. Whereas sight situates the observer outside what he views, at a distance, sound pours into the hearer. When I hear, however, I gather sound simultaneously from every direction at once: I am at the centre of my auditory world, which envelops me, establishing me at a kind of core of sensation and existence.

Interiority and harmony are characteristics of human consciousness. The consciousness of each human person is totally interiorized, known to the person from the inside and inaccessible to any other person directly from the inside. There I shall propose reasons why we should try harder to find ways of interrogating how and why we hear and react to music performance the way we do in a more holistic manner.

Given that listening is central to many ways of being in the world otherwise than, and often older than, the dominant Western model of communicative consensus […] it behoves us to rethink the function of listening, and by extension musicking. When we are fixated on the written, we miss an opportunity to study our ability of sensing and communicating aurally. Yet this is what musicians do best. There is considerable emphasis on learning by ear even among pedagogues of western classical music as well, especially during the foundational years. According to Ong, people who have no recourse to writing and have to rely on their memory for everything tend to think much more functionally and eschew abstraction.

Just as in oral cultures, musicians learn to express the full existential context of performing particular pieces through repetitions and the adoption of conventions.

Oral traditions were even more alive partly because fewer people were fully literate. Also, musicians came from families of musicians stretching several generations. For them, just like for the bards of ancient times and oral cultures, thinking of a single text, of one fixed version was still quite an anathema. Notation was severely limited in conveying information essential for an ideal performance so they interpreted them at will, adding and changing according to their fancy even if relying on local customs. They performed a living, vernacular tradition that was malleable and fluid typical of the artistic output of oral cultures.

They also tended to play their own music and so had control over the contributing elements. It is a sign of a dominant left-hemisphere, according to Ian McGilchrist. Even the development of HIP is a testimony to the residual power of this aural mode of existence: When the written sources were first recovered and studied musicians could only interpret them according to their modern experiential boundaries of aural and operational memory.

Artistic Research in Classical Music Performance – PARSE

That is why the use of old instruments proved so crucial yet it took so long to let go of playing them with modern technique. It may be that the intention was not executed or not perceptibly executed for a variety of reasons, or the verbal pronouncement might have been just empty rhetoric. And this is all well and good, for the musicologist is primarily a listener and as such writes for other listeners. The performer on the other hand may best communicate to other performers and listeners her knowledge about performance and the work she is performing through the act itself, within the experiential aural domain.

The development of and current views on HIP and MSP have been mapped from multiple angles—cultural, historical, analytical—and the proposition to consider the recordings as manifestations of multiple, non-linear, looping interactions in a complex dynamical system that is music performance has been put forth. Through the review of analytical, empirical and experimental research into music performance we realized the need for a more comprehensive approach that would offer an adequately complex and more nuanced account of this multifaceted human activity.

My position that both objective and subjective, aural and written as well as visual representations and discussions are absolutely essential for a balanced and fair evaluation of what is happening in music performance has also been made clear. Some might readily object that recordings are not performances but I believe they are. According to empirical data I collected in , most recordings are released when all parties are satisfied with it and the majority of soloists would agree that their recordings reflect their ideal performance of the work at the time of recording.

This is not the place to chart the history of psychological studies of music performance. It is worth noting, however, that an interest in studying systematically what performers do arose already in the last quarter of the nineteenth century, both in musicology e. There are also many journal articles, book chapters and foreign language publications, most of them reviewed in Fabian, Bach Performance Practice. The essays collected in Authenticity and Early Music , ed. Earlier publications focused on making the content of treatises available in modern editions or translations and in collated readers.