Full Description
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.
Contents
Acknowledgements
Introduction
Part One: A Theory of Musical Interpretation
1. Analysis in the Musical Work
2. Two Interpretive Roles
Part Two: Analytical Essays
3. Schenkerian Analysis as Metaphor: Chopin, Nocturne in C Minor, Op. 48, No. 1
4. An Analytical Dialogue: Beethoven, String Quartet in C Minor, Op. 18, No. 4, First Movement
5. Musical Structure(s) as Subtext: Resisting Schumann's "Ring"
Notes
Bibliography
Index
