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Underpinned by author John Rink's internationally acclaimed
scholarship and experience as a musician, this book addresses
fascinating topics in the field of musical performance studies
concerning the history, analysis and psychology of music, as well
as artistic research. It offers manifold practical insights into
musical performance, ranging from detailed technical features to
overall shape. The volume has four main parts, focusing on
performance and performance studies, historical performance,
analysis and performance, and artistic research. Case studies of
romantic piano pieces appear throughout, including Liszt's 'Vallée
d'Obermann', Brahms's Fantasien Op. 116, and select preludes and
concertos by Rachmaninoff and Chopin. The book also includes
discussions of recordings by such artists as Alfred Brendel, Artur
Rubinstein and Nikita Magaloff along with some outstanding
performances in the International Fryderyk Chopin Piano Competition
in 2015. Rink explores issues surrounding the identity and artistic
voice of the performer by elucidating the sense-making and
decision-making process underlying musical performance of all
kinds. He also offers broad insights into musical ontology,
epistemology and semantics, in addition to demonstrating some of
the methodologies now used to study performance. As a whole, the
book highlights the powerful effects that experiencing music in
performance can have on those who take part in it, in any capacity.
This anthology brings together representative examples of the most
significant and engaging scholarly writing on Chopin by a wide
range of authors. The essays selected for the volume portray a
rounded picture of Chopin as composer, pianist and teacher of his
music, and of his overall achievement and legacy. Historical
perspectives are offered on Chopin's biography 'as cultural
discourse', on the evolution and origins of his style, and on the
contexts of given works. A fascinating contemporary overview of
Chopin's oeuvre is also provided. Seven source studies assess the
status and role of Chopin's notational practices as well as some
enigmatic sketch material. Essays in the field of performance
studies scrutinise the 'cultural work' carried out by Chopin's
performances and discuss his playing style along with that of his
contemporaries and students. This paves the way for a body of
essays on analysis, aesthetics and reception, considering aspects
of genre and including an overview of analytical approaches to
select works. The remaining essays address Chopin's handling of
form, rhythm and other musical elements, as well as the 'meaning'
of his msuic. The collection as a whole underscores one of the most
important aspects of Chopin's legacy, namely the paradoxical manner
in which he drew from the past - in particular, certain
eighteenth-century traditions - while stretching inherited
conventions and practices to such an extent that a highly original
'music of the future' was heralded.
This book provides a complete inventory of the Chopin first
editions, and subsequent impressions published in his lifetime,
found in over forty European and American collections. They total
some 4000 scores. Prefaced by an extended historical discussion
from Christophe Grabowski and John Rink, the book constitutes the
first systematic investigation of Chopin's first editions, which
have until now been neglected despite their potential to inform us.
Much is revealed here about the content of Chopin's music, his
idiosyncratic editorial methods, and early nineteenth-century
publication practices in general. Furthermore, the insights gained
into the evolution from manuscript to later impressions of Chopin's
first editions counter prevailing notions of the circumscribed
'work', encouraging a more flexible conception in which variants
become part of the music's aesthetic property. The value of the
volume is enhanced by the reproduction of more than 200 title pages
from first editions.
From the cylinder to the download, the practice of music has been
radically transformed by the development of recording and playback
technologies. This Companion provides a detailed overview of the
transformation, encompassing both classical and popular music.
Topics covered include the history of recording technology and the
businesses built on it; the impact of recording on performance
styles; studio practices, viewed from the perspectives of
performer, producer and engineer; and approaches to the study of
recordings. The main chapters are interspersed by 'short takes' -
short contributions by different practitioners, ranging from
classical or pop producers and performers to record collectors.
Combining basic information with a variety of perspectives on
records and recordings, this book will appeal not only to students
in a range of subjects from music to the media, but also to general
readers interested in a fundamental yet insufficiently understood
dimension of musical culture.
This second volume of essays in Chopin Studies contains Chopin
research by twelve leading scholars. Three main topics are
addressed: reception history, aesthetics and criticism, and
performance studies. The first four chapters investigate certain
images associated with Chopin during his lifetime and after his
death: Chopin as classical composer, as salon composer, as
modernist, as 'otherwordly', as androgyne. The next four essays
contextualize and define aspects of his musical language, including
narrative stuctures, baroque affinities, progressive tendencies and
functional ambiguity. The last four deal with analysis and source
study as related to performance, structure and expression, tempo
rubato and 'authentic' interpretation. The book ends with a
thumbnail sketch of Chopin as revealed in a recently discovered
diary for 1847-8.
The twelve essays in this volume reflect the most important trends
in the study of musical performance. Three areas are investigated:
the psychology of performance, the semantics of performance, and
the relation between performance and analysis. The first section
broaches fundamental issues such as text, expression, musical
motion and the role of practice in the acquisition of expertise.
The next four chapters address the shaping of structure and the
projection of meaning in performance, while the last four consider
performance as analytical paradigm, as dramatic narrative, as act
of criticism, as temporal process. Among the distinguished
international authorship are many accomplished performers whose
practical experience ensures that the book contains vital and
stimulating insights into the interpretation of music, and that it
will speak to a wide musical audience.
This book unravels the complexities of playing music and reveals aspects of learning, playing and responding to music relevant to performances of all levels. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorization. The next section considers the "translation" from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and "performers on performance".
Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. This Handbook reevaluates them so that their many outstanding qualities can be fully appreciated. It describes their genesis, Chopin's own performances and his use of them as a teacher. A survey of their critical, editorial and performance histories follows, in preparation for an engaging narrative analysis of the concertos as embodied in sound. The final chapter investigates Chopin's enigmatic "third concerto", the Allegro de concert.
This second volume of essays in Chopin Studies contains Chopin
research by twelve leading scholars. Three main topics are
addressed: reception history, aesthetics and criticism, and
performance studies. The first four chapters investigate certain
images associated with Chopin during his lifetime and after his
death: Chopin as classical composer, as salon composer, as
modernist, as 'otherwordly', as androgyne. The next four essays
contextualize and define aspects of his musical language, including
narrative stuctures, baroque affinities, progressive tendencies and
functional ambiguity. The last four deal with analysis and source
study as related to performance, structure and expression, tempo
rubato and 'authentic' interpretation. The book ends with a
thumbnail sketch of Chopin as revealed in a recently discovered
diary for 1847-8.
From the cylinder to the download, the practice of music has been
radically transformed by the development of recording and playback
technologies. This 2009 Companion provides a detailed overview of
the transformation, encompassing both classical and popular music.
Topics covered include the history of recording technology and the
businesses built on it; the impact of recording on performance
styles; studio practices, viewed from the perspectives of
performer, producer and engineer; and approaches to the study of
recordings. The main chapters are interspersed by 'short takes' -
short contributions by different practitioners, ranging from
classical or pop producers and performers to record collectors.
Combining basic information with a variety of perspectives on
records and recordings, this book will appeal not only to students
in a range of subjects from music to the media, but also to general
readers interested in a fundamental yet insufficiently understood
dimension of musical culture.
This book unravels the complexities of playing music and reveals aspects of learning, playing and responding to music relevant to performances of all levels. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorization. The next section considers the "translation" from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and "performers on performance".
Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. This Handbook reevaluates them so that their many outstanding qualities can be fully appreciated. It describes their genesis, Chopin's own performances and his use of them as a teacher. A survey of their critical, editorial and performance histories follows, in preparation for an engaging narrative analysis of the concertos as embodied in sound. The final chapter investigates Chopin's enigmatic "third concerto", the Allegro de concert.
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