By Guerino Mazzola
This booklet is a primary comic strip of what the final box of functionality may possibly seem like as a contemporary scientific field yet no longer its stylistically differentiated perform, pedagogy, and background. Musical functionality is the main advanced box of track. It includes the learn of a composition’s expression when it comes to research, emotion, and gesture, after which its transformation into embodied truth, turning formulaic proof into dramatic routine of human cognition. Combining those elements in an inventive method is a cosmopolitan mixture of wisdom and mastery, which extra resembles the cooking of a fragile recipe than a rational approach.
This ebook is the 1st one aiming at such entire assurance of the subject, and it does so additionally as a college textual content e-book. We contain musicological and philosophical facets in addition to empirical functionality examine. providing analytical instruments and case reviews turns this venture right into a hard company in building and experimental setups of performances, particularly these generated by way of the song software program Rubato.
we're satisfied that this ebook used to be written following a direction for functionality scholars on the college of track of the college of Minnesota. Their schooling shouldn't be constrained to the canonical perform. they need to comprehend the explanation for his or her functionality. it's not enough to benefit functionality with the old fashioned imitation version of the teacher's antetype, this can't be an particular instrument because it dramatically lacks the poetical precision requested for by way of Adorno's and Benjamin's micrologic. with no such choices to intuitive imitation, functionality hazards being disconnected from the viewers.
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Additional info for Musical Performance: A Comprehensive Approach: Theory, Analytical Tools, and Case Studies
We have to differentiate between processes and their products, the output of processual dynamics. Processes are a kind of factory for facts, but not the facts themselves. The processual level is fundamentally different from its output products. Processes and facts are instances of different ontologies. Going still farther in the initiated direction, processes are also an abstraction from a more basic layer, namely the gestural layer, where all processes and their facts are initiated. Processes are disembodied gestures, reduced to their referential system of transformations.
Observe that the mental reality is not conceived as being a part of the psychological one. Differentiation of realities is crucial for avoiding widespread misunderstandings about the nature of musical facts. A representative example of this problem is Fourier’s theorem, roughly stating that every periodic function is a unique sum of sinoidal components. Its a priori status is a mental one, a theorem of pure mathematics. In musical acoustics, it is often claimed that—according to Fourier’s theorem—a sound “is” composed of “pure” sinoidal partials.
12. 3 Semiotics Fig. 3. 3) comprises all sign-theoretic aspects of music. It is articulated in the three classical constituents of a sign: expression, content, and signification. Expression, the first value on this axis of reality, relates to the surface of a sign, something that stands for the sign’s meaning or content. The latter, content, is the second value—the “aliquo” in the classical definition “aliquid stat pro aliquo” (“something stands for something else”) of a sign. The third value is the signification part of a sign.
Musical Performance: A Comprehensive Approach: Theory, Analytical Tools, and Case Studies by Guerino Mazzola