These essays offer a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and performers who see performance as a practice enriched by a wealth of historical and analytical approaches. Each contributor considers examples drawn from a particular repertoire or composer. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinary frameworks.…mehr
These essays offer a range of approaches central to the performance of French piano music of the nineteenth and twentieth centuries. The contributors include scholars and performers who see performance as a practice enriched by a wealth of historical and analytical approaches. Each contributor considers examples drawn from a particular repertoire or composer. Themes that emerge demonstrate the importance of editions as a form of communication, the challenges of notation, the significance of detail and of deeper continuity, the importance of performing and teaching traditions, and the influence of cross disciplinary frameworks.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Scott McCarrey is Professor of Piano at Brigham Young University-Hawai'i. His doctorate at York University, UK, was focused on the performance and analysis of Ravel, an interest which led him to co-organize, along with Lesley A. Wright and Roy Howat, the 2007 conference entitled 'French Music: Performance and Analysis'. Lesley A. Wright is a Professor of Musicology at the University of Hawai'i at Manoa. Throughout her career she has focused on Bizet, Massenet and their contemporaries, French opera, the Parisian press, and the institutions that supported the careers of French musicians.
Inhaltsangabe
Introduction; Part I How Composers Communicate; Chapter 1 1This text and the recorded examples were originally presented as a keynote address at the conference "French Music: Performance and Analysis " Brigham Young University- Hawai'i La'ie Hawai'i November 17 2007. Roy Howat; Chapter 2 Messiaen as Pianist: A Romantic in a Modernist World Christopher Dingle; Part II Teachers as the Conduit to the Composer's Intent; Chapter 3 The Genesis of Messiaen's Catalogue d'oiseaux Peter Hill; Chapter 4 1I would like to thank Lesley A. Wright for sharing materials from libraries in Boston/Cambridge and Paris. David Korevaar; Part III Historical Resources; Chapter 5 Style Performance Practice and Reception in the Prelude Chorale and Fugue: Placing and Performing César Franck Richard Langham Smith; Chapter 6 1I should like to thank David Milsom for some typically insightful comments on a draft of this chapter. Christopher Dingle; Part IV Using Analysis for Informed Performances: Pianists' Views; Chapter 7 1I would like to thank Lesley A. Wright and my former doctoral supervisor Tim Howell at York University for especially constructive comments offered in the final stages of putting the chapter together. Scott McCarrey; Chapter 8 Messiaen to Murail or What Sounds Become Marilyn Nonken;
Introduction; Part I How Composers Communicate; Chapter 1 1This text and the recorded examples were originally presented as a keynote address at the conference "French Music: Performance and Analysis " Brigham Young University- Hawai'i La'ie Hawai'i November 17 2007. Roy Howat; Chapter 2 Messiaen as Pianist: A Romantic in a Modernist World Christopher Dingle; Part II Teachers as the Conduit to the Composer's Intent; Chapter 3 The Genesis of Messiaen's Catalogue d'oiseaux Peter Hill; Chapter 4 1I would like to thank Lesley A. Wright for sharing materials from libraries in Boston/Cambridge and Paris. David Korevaar; Part III Historical Resources; Chapter 5 Style Performance Practice and Reception in the Prelude Chorale and Fugue: Placing and Performing César Franck Richard Langham Smith; Chapter 6 1I should like to thank David Milsom for some typically insightful comments on a draft of this chapter. Christopher Dingle; Part IV Using Analysis for Informed Performances: Pianists' Views; Chapter 7 1I would like to thank Lesley A. Wright and my former doctoral supervisor Tim Howell at York University for especially constructive comments offered in the final stages of putting the chapter together. Scott McCarrey; Chapter 8 Messiaen to Murail or What Sounds Become Marilyn Nonken;
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