arpi mardirossian wednesday, april 30, 2003

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Explorations in Music, The Arts, and Ideas- “On the Relationship of Analytical Theory to Performance and Interpretation”

Eugene Narmour – University of Pennsylvania

Arpi MardirossianWednesday, April 30, 2003

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Introduction

Music theory should teach how different interpretationsalter 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

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Form

If formal relations are not analyzed by the performer, then many

negative consequences follow.

Brahms, Intermezzo op. 118 no.1, mm. 1-7

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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

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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.

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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.

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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.

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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

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Evaluation of Performance

Strauss, Der Rosenkavalier, Act II, Sc. 1

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Evaluation of Performance

Strauss, Der Rosenkavalier, Act II, Sc. 1

Least Imaginative –No piano-crescendo-subito pianissimo on the C sharp – A sharp leap

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Evaluation of Performance

Strauss, Der Rosenkavalier, Act II, Sc. 1

An improvement –With exception of lack of crescendo to the high A-sharp, Strauss’s dynamics are followed.

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Evaluation of Performance

Strauss, Der Rosenkavalier, Act II, Sc. 1

Very Expressive. The Best!Diminuendo to the high B is thrilling.