000 04382nam a22004695i 4500
001 978-3-642-11838-8
003 DE-He213
005 20140220083743.0
007 cr nn 008mamaa
008 101117s2011 gw | s |||| 0|eng d
020 _a9783642118388
_9978-3-642-11838-8
024 7 _a10.1007/978-3-642-11838-8
_2doi
050 4 _aQA76.575
050 4 _aN7433.94
072 7 _aUG
_2bicssc
072 7 _aCOM034000
_2bisacsh
072 7 _aBUS070060
_2bisacsh
082 0 4 _a006.7
_223
100 1 _aMazzola, Guerino.
_eauthor.
245 1 0 _aMusical Performance
_h[electronic resource] :
_bA Comprehensive Approach: Theory, Analytical Tools, and Case Studies /
_cby Guerino Mazzola.
264 1 _aBerlin, Heidelberg :
_bSpringer Berlin Heidelberg,
_c2011.
300 _aXV, 290 p.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 1 _aComputational Music Science,
_x1868-0305
505 0 _aPart 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.
520 _aThis 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.    
650 0 _aComputer science.
650 0 _aAlgebraic topology.
650 1 4 _aComputer Science.
650 2 4 _aMedia Design.
650 2 4 _aAlgebraic Topology.
710 2 _aSpringerLink (Online service)
773 0 _tSpringer eBooks
776 0 8 _iPrinted edition:
_z9783642118371
830 0 _aComputational Music Science,
_x1868-0305
856 4 0 _uhttp://dx.doi.org/10.1007/978-3-642-11838-8
912 _aZDB-2-SCS
999 _c106837
_d106837