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020 _a9783642118388
_99783642118388
024 7 _a10.1007/9783642118388
_2doi
035 _avtls000354744
039 9 _a201509030529
_bVLOAD
_c201405060339
_dVLOAD
_y201402191025
_zstaff
040 _aMX-SnUAN
_bspa
_cMX-SnUAN
_erda
050 4 _aQA76.575
100 1 _aMazzola, Guerino.
_eautor
_9326799
245 1 0 _aMusical Performance :
_bA Comprehensive Approach: Theory, Analytical Tools, and Case Studies /
_cby Guerino Mazzola.
264 1 _aBerlin, Heidelberg :
_bSpringer Berlin Heidelberg,
_c2011.
300 _axv, 290 páginas
_brecurso en línea.
336 _atexto
_btxt
_2rdacontent
337 _acomputadora
_bc
_2rdamedia
338 _arecurso en línea
_bcr
_2rdacarrier
347 _aarchivo de texto
_bPDF
_2rda
490 0 _aComputational Music Science,
_x1868-0305
500 _aSpringer eBooks
505 0 _aPart I Introduction -- 1 Introduction and Overview -- 2 List of Symbols -- 3 Short History of Performance Theory -- 4 Oniontology -- Part II Structure Theory -- 5 What Is Structure Theory?- 6 Tempo Curves -- 7 Tuning, Intonation, and Dynamics -- 8 Combining Tempo, Tuning, and Dynamics -- 9 Articulation -- 10 General Performance Fields -- 11 The Category of Performance Cells and Hierarchies -- Part III Expressive Theory -- 12 What Is Expressive Theory?- 13 Emotional Expression -- 14 Gestural Expression -- 15 Analytical Expression -- 16 Analytical Weights -- 17 Shaping Operators -- 18 Two Generic Models and the Challenge of Improvisation -- 19 String Quartet Theory -- Part IV Rubato: Model and Software -- 20 Performance Scores -- 21 Stemma Theory -- 22 Case Studies -- 23 Statistics -- Part V Inverse Performance -- 24 What Is Inverse Performance Theory?- 25 The Technical Setup -- 26 Schumann's Träumerei: Argerich vs. Horowitz -- 27 Rethinking Music Critique -- Part VI Epilogue -- 28 Summary of Performance Theory -- 29 Future Developments -- Part VII Bibliographic References, Music Examples, and Index -- References Bibliography -- Music Examples.
520 _aThis book is a first sketch of what the overall field of performance could look like as a modern scientific field but not its stylistically differentiated practice, pedagogy, and history. Musical performance is the most complex field of music. It comprises the study of a composition’s expression in terms of analysis, emotion, and gesture, and then its transformation into embodied reality, turning formulaic facts into dramatic movements of human cognition. Combining these components in a creative way is a sophisticated mix of knowledge and mastery, which more resembles the cooking of a delicate recipe than a rational procedure.  This book is the first one aiming at such comprehensive coverage of the topic, and it does so also as a university text book. We include musicological and philosophical aspects as well as empirical performance research. Presenting analytical tools and case studies turns this project into a demanding enterprise in construction and experimental setups of performances, especially those generated by the music software Rubato.  We are happy that this book was written following a course for performance students at the School of Music of the University of Minnesota. Their education should not be restricted to the canonical practice. They must know the rationale for their performance.  It is not sufficient to learn performance with the old-fashioned imitation model of the teacher's antetype, this cannot be an exclusive tool since it dramatically lacks the poetical precision asked for by Adorno's and Benjamin's micrologic. Without such alternatives to intuitive imitation, performance risks being disconnected from the audience.    
590 _aPara consulta fuera de la UANL se requiere clave de acceso remoto.
710 2 _aSpringerLink (Servicio en línea)
_9299170
776 0 8 _iEdición impresa:
_z9783642118371
856 4 0 _uhttp://remoto.dgb.uanl.mx/login?url=http://dx.doi.org/10.1007/978-3-642-11838-8
_zConectar a Springer E-Books (Para consulta externa se requiere previa autentificación en Biblioteca Digital UANL)
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