Musical Performance (eBook)

Preface 6
Contents 9
Part I Introduction 14
1 Introduction and Overview 15
2 List of Symbols 19
3 Short History of Performance Theory 23
3.1 The Philosophical Tradition 24
3.2 The Empirical Tradition 28
4 Oniontology 33
4.1 Realities 34
4.2 Communication 35
4.3 Semiotics 36
4.4 Embodiment 37
4.5 The Baboushka Principle 38
4.6 Topography of Performance 39
4.7 Semiotic Expressivity 40
4.8 Rhetorical Expressivity 42
4.9 CSI Anatomy 43
4.10 ISC Anatomy 45
4.11 Multi-agent Communication 46
4.12 The Performer's Balanced Dancing Presence 48
Part II Structure Theory 53
5 What Is Structure Theory? 54
6 Tempo Curves 58
6.1 What is Tempo? 59
6.1.1 Some Remarks on the History and Ethnography of Tempo 63
6.2 Calcuating Time from Tempo 65
7 Tuning, Intonation, and Dynamics 68
7.1 Tuning and Intonation 69
7.2 Dynamics 78
8 Combining Tempo, Tuning, and Dynamics 80
9 Articulation 87
10 General Performance Fields 90
10.1 General Performance Fields 90
10.2 Initial Sets 92
10.3 Measuring Performance Fields 93
11 The Category of Performance Cells and Hierarchies 95
Part III Expressive Theory 99
12 What Is Expressive Theory? 100
12.1 Experiments in Expressive Performance 102
13 Emotional Expression 104
13.1 What is Emotion? 104
13.2 Some Physiological Evidences 107
13.3 Manfred Clynes' Essentic Forms 112
13.4 Reinhard Kopiez' and J org Langner's Theory of Oscillating Systems 113
13.5 Anders Friberg's Feature-based Model 114
13.6 Alf Gabrielsson's Isomorphism 117
14 Gestural Expression 121
14.1 General Facts About Gesture Theory in Music 121
14.2 Roger Sessions: Gestures in Performance 122
14.3 Theodor Wiesengrund Adorno's Gesture Theory in Musical Reproduction 124
14.4 Renate Wieland's Gestural Piano Pedagogy 127
14.5 Manfred Clynes' Essentics as a Theory of Gestural Expressivity 129
14.6 Johan Sundberg, Neil P. McAgnus Todd: Mechanical Models of Gestures in Music 130
14.7 Guerino Mazzola and Stefan M uller: Modeling the Pianist's Hand 132
14.7.1 Modeling the Hand 133
14.7.2 Transforming Abstract Note Symbols into SymbolicGestures 133
14.7.3 Deforming Symbolic Hand Gestures into Physically ValidCurves 135
14.8 A Mathematical Gesture Theory 135
14.9 Anders Friberg, Antoni Camurri et al.: Computer-aided Emotional Analysis of Performance 138
15 Analytical Expression 140
15.1 Adorno's Analytical Performance Study of Webern's First Bagatelle 141
15.2 Anders Friberg, Johan Sundberg, and Lars Fryd en: Director Musices Performance Software 148
15.3 Guerino Mazzola and Oliver Zahorka: The Rubato Theory of Analytical Performance 151
16 Analytical Weights 154
16.1 Metrical Weights 155
16.2 Melodic Weights 159
16.3 Harmonic Weights 160
16.4 Primavista Weights 162
17 Shaping Operators 164
17.1 Are Lie Type Operators Universal? 166
18 Two Generic Models and the Challenge of Improvisation 168
18.1 The GERM Model 168
18.2 Todd's Generic Approach 169
18.3 The Challenge of Improvisation 170
18.3.1 Expansion of Improvisational Time-Spaces 172
18.3.2 The Analysis 175
19 String Quartet Theory 178
19.1 Historical and Theoretical Prerequisites 179
19.2 The General Plan 182
19.2.1 General Position for Performance: Four Examples 183
19.3 The Sound Space of the Violin Family 185
19.4 Notes in General Position 187
19.5 Performance of the String Quartet 188
Part IV Rubato: Model and Software 190
20 Performance Scores 191
21 Stemma Theory 194
21.1 Tempo Hierarchies in the 196
Software 196
21.2 The General Stemma Concept 199
21.3 The New Performance Rubette: Realtime, Openness, and Gesturality 202
22 Case Studies 204
22.1 Schumann's : The First Performance Experiment with RUBATO 204
22.2 Schumann's Kuriose Geschichte: The First 
 
209 
22.3 Joachim Stange Elbe's Performance of Johann Sebastian Bach's 211
22.3.1 Rhythmical Analysis 212
22.3.2 Motif Analysis 212
22.3.3 Target-driven vs. Experimental Stemma Constructions 214
22.3.4 Performance Setup 214
22.3.5 Construction of Third Performance Parcours 215
22.3.6 Final Discussion 216
23 Statistics 220
23.1 Hierarchical Decomposition of Weights 221
Part V Inverse Performance 227
24 What Is Inverse Performance Theory? 228
24.1 Technical Aspects 229
24.1.1 Reconstruction of the Performance Map from RecordingData 229
24.1.1.1 Matching Algorithms 229
25 The Technical Setup 232
26 
236 
27 Rethinking Music Critique 239
27.1 Boiling Down In nity 239
27.2 Glenn Gould's Politically Incorrect Performance 240
Part VI Epilogue 244
28 Summary of Performance Theory 245
29 Future Developments 248
Part VII References, Music Examples, Index 250
References 251
Music Examples 258
Index 260