Pub Date : 2020-01-15DOI: 10.1093/oso/9780190653545.003.0007
Daphne Leong
This chapter reads Milhaud’s setting of “L’Aurore” from Lucile de Chateaubriand’s Trois Poèmes en prose as a musical poem—one that supplies the “poetic” structure missing from Chateaubriand’s prose poem. This new poem’s rhythm and rhyme are created by the counterpointing of descending lines moving at different rates of speed, the surface and deeper-level rhythms they articulate, their interactions with textual stresses, and the resulting metric and hypermetric structure. The chapter begins with a brief description of the role of text in Milhaud’s oeuvre, followed by discussion of the French prose poem, Lucile de Chateaubriand, and Chateaubriand’s “Aurore.” It analyzes the song’s contrapuntal motion, describes the authors’ performative conception, and presents practical considerations, closing with the authors’ performance on video.
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Pub Date : 2020-01-15DOI: 10.1093/oso/9780190653545.003.0002
Daphne Leong
This chapter describes the things and people that facilitate collaboration across disciplines: shared items, shared objectives, and shared agents. (These concepts draw from literature on collaboration in the sciences and from research on intercultural communication.) Shared items function differently from discipline to discipline, while being identifiable across disciplines. Shared objectives comprise activity objects, the prospective outcomes of collaboration, and epistemic objects, knowledge sought. Shared agents function within and across two or more disciplines. In this book, shared items are represented primarily by scores (and recordings), activity objects by the book’s chapters, epistemic objects by interpretations of pieces and of analysis-performance relations, and shared agents by scholar-performers or performer-scholars. Mechanisms and processes of collaboration are briefly described: strategies for collaborating when views diverge, and degrees of collaborative convergence (working in parallel, translating or mediating knowledge for mutual influence, transforming domain-specific knowledge into new cross-domain knowledge).
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Pub Date : 2020-01-15DOI: 10.1093/oso/9780190653545.003.0001
Daphne Leong
This opening chapter presents the book’s overarching project: the illumination of relations between analysis and performance through theorist-performer collaborations on twentieth-century works. The project is set in the context of two distinct though overlapping disciplines: the tradition of relating analysis and performance within the field of music theory, and the field of musical performance studies. Musical structure, on which the book focuses, is broadly defined as relations among parts and whole, emerging through interactions of objective materials and subjective agency. Ways of knowing that arise in the course of relating analysis and performance are encapsulated by wissen (knowing that), können (knowing how), and kennen (knowing, as in knowing a person). The book’s title and form (a theme and variations) are briefly described. Two rehearsal vignettes (from Crumb’s Four Nocturnes for violin and piano and Shende’s Throw Down or Shut Up!), the first accompanied by a performance video, frame the chapter.
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Pub Date : 2020-01-15DOI: 10.1093/oso/9780190653545.003.0003
Daphne Leong
How can a performer’s voice complement that of a theorist in the analysis of a musical work? This chapter takes the opening cadenza of Ravel’s Concerto for the Left Hand as a case study. Certain performance considerations—embodied facets, instrumental affordances, and affective implications—comprise warp and weft not only of the Concerto’s execution and interpretation, but also of its structure and meaning. The chapter explores the cadenza: visual and kinesthetic aspects, rhetorical and tonal function, form and structure, rhythmic features and performance issues. The analysis is informed by the authors’ experiences of performing the Concerto and by historical recordings of the work. Video performances and audio examples complement the written text.
{"title":"Determination of Structure","authors":"Daphne Leong","doi":"10.1093/oso/9780190653545.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190653545.003.0003","url":null,"abstract":"How can a performer’s voice complement that of a theorist in the analysis of a musical work? This chapter takes the opening cadenza of Ravel’s Concerto for the Left Hand as a case study. Certain performance considerations—embodied facets, instrumental affordances, and affective implications—comprise warp and weft not only of the Concerto’s execution and interpretation, but also of its structure and meaning. The chapter explores the cadenza: visual and kinesthetic aspects, rhetorical and tonal function, form and structure, rhythmic features and performance issues. The analysis is informed by the authors’ experiences of performing the Concerto and by historical recordings of the work. Video performances and audio examples complement the written text.","PeriodicalId":281280,"journal":{"name":"Performing Knowledge","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128964246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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