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Arpi Mardirossian Wednesday, April 30, 2003

Explorations in Music, The Arts, and Ideas- “ On the Relationship of Analytical Theory to Performance and Interpretation ” Eugene Narmour – University of Pennsylvania. Arpi Mardirossian Wednesday, April 30, 2003. Introduction. Music theory should teach how different interpretations

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Arpi Mardirossian Wednesday, April 30, 2003

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  1. Explorations in Music, The Arts, and Ideas- “On the Relationship of Analytical Theory to Performance and Interpretation”Eugene Narmour – University of Pennsylvania Arpi Mardirossian Wednesday, April 30, 2003

  2. Introduction Music theory should teach how different interpretations alter the listener’s perception. • What contributes to a performance being ‘good’ or ‘bad’? • How does a specific performance make a difference to the listener’s experience? Composer Performer Listener

  3. Form If formal relations are not analyzed by the performer, then many negative consequences follow. Brahms, Intermezzo op. 118 no.1, mm. 1-7

  4. Function A major structural event in both sonata and rondo form is the recapitulation or the return of the theme to the tonic. These functions combine to produce tension and suspense: • Prolongation of the dominant • Propelling motivic repetition Haydn, Symphony No. 94, I, mm. 177-182

  5. Structure How does performance influence musical structure? • For the listener, structure is a result of closure. • Closure occurs in various degrees. • Each parameter of music carries its internal means of closure. • The closure of one parameter may or may not coincide with the closure of another.

  6. Structure - Rhythm • Closure occurs in harmony when dissonance moves to consonance. • Closure: V7 – I, Nonclosure: I - V7 • Closure occurs in rhythm when a short duration moves to a longer duration.

  7. Structure - Melody • The larger a melodic interval is, the more implicative it is. • The smaller a melodic interval is, the less implicative it is. • Single interval of a major sixth is more ‘open’ than a minor second. • Small intervals imply continuation in the same direction while large intervals imply a change in direction.

  8. Parametric Noncongruence The Grave of the overture to Handel’s Messiah should be played in the double dotted fashion of a French Overture. Handel, Overture to Messiah, mm. 1-2

  9. Evaluation of Performance Strauss, Der Rosenkavalier, Act II, Sc. 1

  10. Evaluation of Performance Least Imaginative – No piano-crescendo-subito pianissimo on the C sharp – A sharp leap Strauss, Der Rosenkavalier, Act II, Sc. 1

  11. Evaluation of Performance An improvement – With exception of lack of crescendo to the high A-sharp, Strauss’s dynamics are followed. Strauss, Der Rosenkavalier, Act II, Sc. 1

  12. Evaluation of Performance Very Expressive. The Best! Diminuendo to the high B is thrilling. Strauss, Der Rosenkavalier, Act II, Sc. 1

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