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Kevin Korsyn is a renowned music theorist, musicologist, and
pedagogue who has taught at the University of Michigan since 1992.
He has published widely and influentially in areas as diverse as
Beethoven and Brahms studies, chromatic tonality, disciplinarity
and metatheory, history of theory, musical meaning and
hermeneutics, poststructuralism (deconstruction, intertextuality,
etc.), and Schenkerian theory and analysis. Because of the scope
and caliber of his published work, and also his legacy as a
pedagogue, Korsyn has had a profound impact on the field of music
theory, along with the related fields of historical musicology and
aesthetics. This book, a festschrift for Korsyn, comprises essays
that constellate around his numerous scholarly foci. Represented in
the volume are not only familiar music-theoretical topics such as
chromaticism, form, Schenker, and text-music relations, but also
various interdisciplinary topics such as deconstruction, disability
studies, German Idealism, posthumanism, and psychoanalysis. The
book thus reflects the increasingly multifaceted intellectual
landscape of contemporary music theory.
How can the studio teacher teach a lesson so as to instill refined
artistic sensibilities, ones often thought to elude language? How
can the applied lesson be a form of aesthetic education? How can
teaching performance be an artistic endeavor in its own right?
These are some of the questions Teaching Performance attempts to
answer, drawing on the author's several decades of experience as a
studio teacher and music scholar. The architects of absolute music
(Hanslick, Schopenhauer, and others) held that it is precisely
because instrumental music lacks language and thus any overt
connection to the non-musical world that it is able to expose
essential elements of that world. More particularly, for these
philosophers, it is the density of musical structure—the
intricate interplay among purely musical elements—that allows
music to capture the essences behind appearances. By analogy, the
author contends that the more structurally intricate and
aesthetically nuanced a pedagogical system is, the greater its
ability to illuminate music and facilitate musical skills. The
author terms this phenomenon relational autonomy. Eight chapters
unfold a piano-pedagogical system pivoting on the principle of
relational autonomy. In grounding piano pedagogy in the aesthetics
of absolute music, each domain works on the other. On the one hand,
Romantic aesthetics affords pedagogy a source of artistic value in
its own right. On the other hand, pedagogy concretizes Romantic
aesthetics, deflating its transcendental pretentions and showing
the dichotomy of absolute/utilitarian to be specious.
How can the studio teacher teach a lesson so as to instill refined
artistic sensibilities, ones often thought to elude language? How
can the applied lesson be a form of aesthetic education? How can
teaching performance be an artistic endeavor in its own right?
These are some of the questions Teaching Performance attempts to
answer, drawing on the author's several decades of experience as a
studio teacher and music scholar. The architects of absolute music
(Hanslick, Schopenhauer, and others) held that it is precisely
because instrumental music lacks language and thus any overt
connection to the non-musical world that it is able to expose
essential elements of that world. More particularly, for these
philosophers, it is the density of musical structure-the intricate
interplay among purely musical elements-that allows music to
capture the essences behind appearances. By analogy, the author
contends that the more structurally intricate and aesthetically
nuanced a pedagogical system is, the greater its ability to
illuminate music and facilitate musical skills. The author terms
this phenomenon relational autonomy. Eight chapters unfold a
piano-pedagogical system pivoting on the principle of relational
autonomy. In grounding piano pedagogy in the aesthetics of absolute
music, each domain works on the other. On the one hand, Romantic
aesthetics affords pedagogy a source of artistic value in its own
right. On the other hand, pedagogy concretizes Romantic aesthetics,
deflating its transcendental pretentions and showing the dichotomy
of absolute/utilitarian to be specious.
This book proposes a new model for understanding the musical work,
which includes interpretation -- both analysis- and
performance-based -- as an integral component. This book proposes a
model for understanding the musical work in which both
analysis-based and performance-based modes of interpretation are
integral to the work. Jeffrey Swinkin explores the important role
that performance playsin elucidating a work and argues for the
performative nature of music analysis itself, focusing in
particular on Schenkerian analysis. Swinkin's aim is to show that
music analysis is grounded in the same kinds of physical and
emotional experiences that performers are necessarily concerned to
project. Analysis and performance are thus deeply compatible and
can enjoy an equitable, fruitful relationship. The first three
chapters theorize this stance; thelast three apply it to works by
Chopin, Beethoven, and Schumann, respectively. Jeffrey Swinkin is
assistant professor of music theory at the University of Oklahoma.
Featuring twenty-three essays by outstanding teacher-scholars on
topics ranging from Schenkerian theory to gender, The Norton Guide
to Teaching Music Theory covers every facet of music theory
pedagogy. The volume serves as a reference for theory teachers and
a text for pedagogy classes.
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