Performative analysis : reimagining music theory for performance PDF
Preview Performative analysis : reimagining music theory for performance
Performative Analysis Reimagining Music Theory for Performance J S e f f r e y w i n k i n Performative Analysis SSwwiinnkkiinn..iinndddd ii 22//1177//22001166 55::5555::5533 PPMM Eastman Studies in Music Ralph P. Locke, Senior Editor Eastman School of Music Additional Titles of Interest Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts Michiel Schuijer Bach to Brahms: Essays on Musical Design and Structure Edited by David Beach and Yosef Goldenberg A Dance of Polar Opposites: The Continuing Transformation of Our Musical Language George Rochberg Edited by Jeremy Gill Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno Edited by Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin Intimate Voices: The Twentieth-Century String Quartet, Volumes 1 and 2 Edited by Evan Jones Looking for the “Harp” Quartet: An Investigation into Musical Beauty Markand Thakar Music Theory and Mathematics: Chords, Collections, and Transformations Edited by Jack Douthett, Martha M. Hyde, and Charles J. Smith Narratives of Identity in Alban Berg’s “Lulu” Silvio J. dos Santos A Theory of Music Analysis: On Segmentation and Associative Organization Dora A. Hanninen The Whistling Blackbird: Essays and Talks on New Music Robert Morris A complete list of titles in the Eastman Studies in Music series may be found on the University of Rochester Press website, www.urpress.com SSwwiinnkkiinn..iinndddd iiii 22//1177//22001166 55::5566::0044 PPMM Performative Analysis Reimagining Music Theory for Performance Jeffrey Swinkin SSwwiinnkkiinn..iinndddd iiiiii 22//1177//22001166 55::5566::0044 PPMM The University of Rochester Press gratefully acknowledges generous support from the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. Copyright © 2016 by Jeffrey Swinkin All rights reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 2016 University of Rochester Press 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.urpress.com and Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com ISBN-13: 978-1-58046-526-7 ISSN: 1071-9989 Library of Congress Cataloging-in-Publication Data Names: Swinkin, Jeffrey, author. Title: Performative analysis : reimagining music theory for performance / Jeffrey Swinkin. Other titles: Eastman studies in music ; v. 132. Description: Rochester, NY : University of Rochester Press, 2016. | 2 016 | Series: Eastman studies in music, ISSN 1071-9989 ; v. 132 | Includes bibliographical references and index. Identifiers: LCCN 2015048905 | ISBN 9781580465267 (hardcover : alkaline paper) Subjects: LCSH: Musical analysis. | Music—Interpretation (Phrasing, dynamics, etc.) | Music—Performance—Psychological aspects. Classification: LCC MT6 .S955 2016 | DDC 781.1/7—dc23 LC record available at http://lccn.loc.gov/2015048905 A catalogue record for this title is available from the British Library. This publication is printed on acid-free paper. Printed in the United States of America. SSwwiinnkkiinn..iinndddd iivv 22//1177//22001166 55::5566::0044 PPMM Contents Acknowledgments vii Introduction 1 Part One: A Theory of Musical Interpretation 1 Analysis in the Musical Work 21 2 Two Interpretive Roles 42 Part Two: Analytical Essays 3 Schenkerian Analysis as Metaphor: Chopin, Nocturne in C Minor, Op. 48, No. 1 75 4 An Analytical Dialogue: Beethoven, String Quartet in C Minor, Op. 18, No. 4, First Movement 96 5 Musical Structure(s) as Subtext: Resisting Schumann’s “Ring” 167 Notes 219 Bibliography 247 Index 261 SSwwiinnkkiinn..iinndddd vv 22//1177//22001166 55::5566::0044 PPMM SSwwiinnkkiinn..iinndddd vvii 22//1177//22001166 55::5566::0044 PPMM Acknowledgments While doing a masters in piano performance at University of Michigan in 1992, I was fortunate to cross paths with Kevin Korsyn, then a visiting profes- sor. The two remarkable seminars he taught that year gave me the music the- ory bug. When I returned to Michigan many years later to pursue a theory PhD, I was received by a warm and welcoming faculty that included not only Professor Korsyn but also Professors Patricia Hall, Wayne Petty, and Ramon Satyendra. They, along with Professors Frederick Amrine and Silke-Maria Weineck, offered superb feedback on early versions of the book, along with copious encouragement. In addition, Professor Janet Schmalfeldt, during a residency at Michigan in the fall of 2012, graciously agreed to read what is here my fourth chapter and discuss it with me at length, which resulted in sev- eral crucial clarifi cations. Dr. Jennifer Goltz was incredibly giving of her time and talent in rehearsing and recording various interpretations of “Du Ring an meinem Finger,” without which chapter 5, as I conceived it, would not have been possible. I must also thank, at University of Rochester Press, Professor Ralph Locke, Sonia Kane, and Julia Cook, as well as the two readers—one anonymous, the other Professor Evan Jones of Florida State University—who evidently lavished a great deal of time and care on my manuscript. Here at the University of Oklahoma, Provost Kyle Harper, Fine Arts Dean Richard Taylor, and Music School Director Larry Mallett—all under the auspices of a Vice President for Research Publication Support Grant—generously under- wrote the typesetting of the examples, which was done, rather handsomely, by Dr. Kyle Vanderburg of NoteForge. Finally, thank you Rachel, Ken, Bill, Susan, Ronnie, Art, and Carol for your unfl inching support of my academic endeav- ors; it has meant a great deal to me. SSwwiinnkkiinn..iinndddd vviiii 22//1177//22001166 55::5566::0044 PPMM SSwwiinnkkiinn..iinndddd vviiiiii 22//1177//22001166 55::5566::0044 PPMM Introduction An Analytical Teaser Jeff’s inner monologue as he practices Beethoven, Piano Sonata in E, op. 14, no. 1, sec- ond movement [see ex. I.1] Example I.1. Beethoven, Piano Sonata in E Major, op. 14, no. 1, mvt. 2, Allegretto. Incipits of main formal sections. SSwwiinnkkiinn..iinndddd 11 22//1177//22001166 55::5566::0044 PPMM
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