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Computational Music Science Ser.: Musical Performance : A Comprehensive Approach: Theory, Analytical Tools, and Case Studies by Guerino B. Mazzola (2011, Hardcover)
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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.
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About this product
Product Identifiers
PublisherSpringer Berlin / Heidelberg
ISBN-103642118372
ISBN-139783642118371
eBay Product ID (ePID)99583842
Product Key Features
Number of PagesXv, 290 Pages
Publication NameMusical Performance : a Comprehensive Approach: Theory, Analytical Tools, and Case Studies
LanguageEnglish
Publication Year2011
SubjectDigital Media / General, Topology, Instruction & Study / Theory
TypeTextbook
AuthorGuerino B. Mazzola
Subject AreaMathematics, Music, Computers
SeriesComputational Music Science Ser.
FormatHardcover
Dimensions
Item Length9.3 in
Item Width6.1 in
Additional Product Features
Intended AudienceScholarly & Professional
Reviews"[T]his book is an interesting look at a structured, theoretical investigation of artistic expression. One could question the need for such research, on the basis that traditional training works well. Whether this analysis could improve performance technique remains to be proven. On the other hand, we have much to learn about human consciousness and emotions. Work in this area could shed some light here, which would be welcome." (G.R. Mayforth, ACM Computing Reviews, May 2012)
Dewey Edition22
Number of Volumes1 vol.
IllustratedYes
Dewey Decimal781.2
Table Of ContentPart I Introduction.- 1 Introduction and Overview.- 2 List of Symbols.- 3 Short History of Performance Theory.- 4 Oniontology.- Part II Structure Theory.- 5 What Is Structure Theory?- 6 Tempo Curves.- 7 Tuning, Intonation, and Dynamics.- 8 Combining Tempo, Tuning, and Dynamics.- 9 Articulation.- 10 General Performance Fields.- 11 The Category of Performance Cells and Hierarchies .- Part III Expressive Theory.- 12 What Is Expressive Theory?- 13 Emotional Expression.- 14 Gestural Expression.- 15 Analytical Expression.- 16 Analytical Weights.- 17 Shaping Operators.- 18 Two Generic Models and the Challenge of Improvisation.- 19 String Quartet Theory .- Part IV Rubato: Model and Software.- 20 Performance Scores.- 21 Stemma Theory.- 22 Case Studies.- 23 Statistics.- Part V Inverse Performance.- 24 What Is Inverse Performance Theory?- 25 The Technical Setup.- 26 Schumann's Träumerei: Argerich vs. Horowitz.- 27 Rethinking Music Critique.- Part VI Epilogue.- 28 Summary of Performance Theory.- 29 Future Developments.- Part VII Bibliographic References, Music Examples, and Index.- References Bibliography.- Music Examples.
SynopsisThis 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.
LC Classification NumberQA76.76.I59
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