![]() ![]() ![]() Or stylishly, involves modifying those aspects of the sound that our instrumentĪllows us to modify, and doing it in a way that brings to the performance a sense In the score, but it also means doing that convincingly. Style, ‘musical’ means the ability to play notes in ways not specified precisely ‘musical’ adds to performance style the notion of persuasiveness. Performance style and musicality are essentially the same phenomenon, except that Lot left that we can easily recognise as musical. Someone has programmed to sound like a person playing a piano. Perhaps the MIDI piano isĬontributing a minuscule sense of shaping to each note by its attack, which Style, but it doesn’t make a great deal of sense. Performance of the notation, which if this definition is correct should have noģ (wav file) from chapter 2 and see what you think. We can test this definition by looking at a literal Going to need to look at everything except the given material, which for classical ♤If we want to define a performance style, then, we’re And the way that elaboration is done constitutes the There’s a ‘text’ and there is elaboration of it as it What makes jazz jazz are precisely the things that we’re looking at in studyingĬlassical music performance. ![]() Than classical musicians to make their own contribution to the harmony and melody, But except for the fact that jazz players feel freer Jazz, variations of tempo and pitch and dynamic are everything. The performer plays and elaborates the core materials byīringing to it a manner of decoration, harmonisation, timing, pitch adjustment,ĭynamic shaping that could equally well be applied to many other melodies. ![]() When you hear them-and it’s their elaboration that makes a performance. But nevertheless they exist recognisably-you know them Jazz uses very little notation: its common material, the basesįor performances, are often no more than simple melodies whose precise details no Let’s take a more extreme example toĬlarify the point. Relation to notation but there has to be something that is being shaped inĬonsistent ways for there to be style. The notation to make a musical performance. Performance style is generated by what performers habitually do with Progress simply by determining what sorts of things constitute a performance styleĪnd by looking at examples of them in practice.ĭefinition. In the meantime we can make some worthwhile The better we get at that the more useful things we’ll be able to say about Machine-readable data and developing software routines that can sort through them. In chapter 6-and have made real progress in turning recordings into These lines for recordings of Chopin mazurkas-we looked at some of the techniques Nicholas Cook and Craig Sapp have been doing something along That properly would require a database of all recorded performances and a means ofĪnalysing the data. To be able to say which of these stylistic features belonged to each. To know which level we were defining we’d have Performers at any one time do, as well as things that some do but not others, and Styles, a performer does some things that all performers do, and some that all As we’ve seen in talking about period and personal But even so there is still the problem of drawingīoundaries between styles. Painting or clothing, for example: at least in music it’s easy to measure theĬonstituent elements-the sounds-and because they come in sequence you don’t have Think of the difficulty of precisely defining style in ♢A style isn’t easy to define fully, though it’s easier in music than in But what is it? What defines it in sound? And how does it work? Performance expressionĮxamples of performance style, and of the way it has changed, and we’ve thought aīit about why. Expressivity and signification in instrumental musicĨ. A methodology for studying expression and expressive gestures ![]()
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