Del i serien Collected Writings of the Orpheus Institute

Practice of Practising

Häftad, Engelska, 2011

AvAlessandro Cervino,Maria Lettberg,Tânia Lisboa,Catherine Laws

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The process of practising is intrinsic to musical creativity. Practising may primarily be thought of as technical, but it is often also musically meaningful, including elements of interpretation, improvisation, and/or composition. The practice room can be a space in which to explore a field of creative possibilities; a place to experiment and to refine ideas. To date, the literature on practice has been primarily pedagogical and psychological. Little attention is paid to the significance of practice, and especially to the role of embodied experience - of understanding gained through doing - in the forming of musical ideas. The Practice of Practising is primarily concerned with considering practising as a practice in itself: a collection of processes that determines musical creativity and significance. The volume comprises four diverse case studies, in relation to music by J. S. Bach, Elliott Carter, Alfred Schnittke, and Morton Feldman, presenting both solo and ensemble perspectives.

Produktinformation

Utgivningsdatum2011-10-03
Mått170 x 239 x undefined mm
Vikt454 g
FormatHäftad
SpråkEngelska
SerieCollected Writings of the Orpheus Institute
Antal sidor92
FörlagLeuven University Press
ISBN9789058678485

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Alessandro Cervino is Junior Researcher at the Orpheus Research Centre in Music (ORCiM), Assistant Professor and Researcher at the Lemmensinstituut of Leuven, and Affiliated Researcher at Katholieke Universiteit Leuven. Maria Lettberg is Junior Researcher at the Orpheus Research Centre in Music (ORCiM). Tânia Lisboa is Senior Researcher at the Orpheus Research Centre in Music (ORCiM) and a Research Fellow at the Royal College of Music. Catherine Laws is a pianist, reader in Music at the University of York, and senior artistic research fellow at the Orpheus Institute.

Contents Preface by Catherine Laws and Tânia Lisboa I. A self-study of learning the Prelude from Bach's Suite No. 6 for cello solo: Comparing words and actions- Tânia Lisboa, Roger Chaffin, Topher Logan PrologueEffective practiceThe investigationStages and cycles in learning the preludeRelating practice and reportsComparing practice and commentsStage 1: explorationStages 2 and 3: smoothing out and listeningStage 4: re-working techniqueStage 5: preparation for performanceConnecting theory and practiceCodaReferencesAcknowledgementsII. Performer's harmony: towards a performance of Elliott Carter's Piano Sonata- Alessandro CervinoPreliminary remarksGetting startedThe processThe practice of practising: a tool for knowingAfterwordReferencesIII. Morton Feldman's Late Piano Music: Experimentalism in Practice- Catherine LawsMemory and subjectivity in Feldman's late musicThe problem of interpretationPalais de Mari and the contingencies of performancePractice as an experimental processReferencesIV. Alfred Schnittke's Piano Trio: Learning and Performing- Maria LettbergIntroductionPreparation for rehearsals and recordingAchieving affinityConclusionsReferencesPersonalia