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Schenker, Heinrich The Art of Performance ISBN 13: 9780195122541

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9780195122541: The Art of Performance
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Book by Schenker Heinrich

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Críticas:
It comes as no surprise that this volume, though slim, is packed with a rich variety of insights ... in the burgeoning field of performance studies, it should rapidly become a standard text. (Music and Letters)
Reseña del editor:
In this previously unpublished essay Schenker, one of the most influential music theorists of the twentieth century, turned his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display and discussing specific ways in which performers can better serve the composer's ideas.

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  • EditorialOUP USA
  • Año de publicación2000
  • ISBN 10 0195122542
  • ISBN 13 9780195122541
  • EncuadernaciónTapa dura
  • Número de páginas140
  • EditorEsser Heribert

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9780195151510: The Art of Performance

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ISBN 10:  0195151518 ISBN 13:  9780195151510
Editorial: Oxford University Press USA, 2000
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Heinrich Schenker
Publicado por Oxford University Press (2000)
ISBN 10: 0195122542 ISBN 13: 9780195122541
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Schenker, Heinrich
Publicado por Oxford University Press, USA (2000)
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Heinrich Schenker
ISBN 10: 0195122542 ISBN 13: 9780195122541
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Descripción Hardcover. Condición: new. Hardcover. Heinrich Schenker's The Art of Performance shows this great music theorist in a new light. While his theoretical writings helped transform music theory in the twentieth century, this book draws on his experience as a musician and teacher to propose a sharp reevaluation of how musical compositions are realized in performance. Filled with concrete examples and numerous suggestions, the book will interest both music theorists and practicing performers. Schenker's approach is based on his argument that much of contemporary performance practice is rooted in the nineteenth-century cult of the virtuoso, which has resulted in an overemphasis on technical display. To counter this, he proposes specific ways to reconnect the composer's intentions and the musician's performance. Schenker begins by showing how performers can benefit from understanding the laws of composition. He demonstrates how a literal interpretation of the composer's indications can be self-defeating, and he provides a lively discussion of piano technique, including suggestions for pedal, sound color, orchestral effects, and balance. He devotes separate chapters to non-legato, legato, fingering, dynamics, tempo, and rests. In addition to the examples for pianists, Schenker covers a number of topics, such as bowing technique, that will prove invaluable for other instrumentalists and for conductors. The book concludes with an aphoristic and sometimes lyrical chapter on practicing. After Schenker's death, his student Oswald Jonas prepared the text for publication from Schenker's notes, eventually leaving the manuscript to his stepdaughter, Irene Schreier Scott, who entrusted the work of organizing and editing the disparate material to Jonas's friend and student Heribert Esser. She later translated it into English. This edition is the first publication in any language of this remarkable work. Heinrich Schenker's The Art of Performance shows this great music theorist in a new light. While his theoretical writings helped transform music theory in the twentieth century, this book draws on his experience as a musician and teacher to propose a sharp reevaluation of how musical compositions are realized in performance. Filled with concrete examples and numerous suggestions, the book will interest both music theorists and practicing performers. Schenker's approach is based on his argument that much of contemporary performance practice is rooted in the nineteenth-century cult of the virtuoso, which has resulted in an overemphasis on technical display. To counter this, he proposes specific ways to reconnect the composer's intentions and the musician's performance. Schenker begins by showing how performers can benefit from understanding the laws of composition. He demonstrates how a literal interpretation of the composer's indications can be self-defeating, and he provides a lively discussion of piano technique, including suggestions for pedal, sound color, orchestral effects, and balance. He devotes separate chapters to non-legato, legato, fingering, dynamics, tempo, and rests. In addition to the examples for pianists, Schenker covers a number of topics, such as bowing technique, that will prove invaluable for other instrumentalists and for conductors. The book concludes with an aphoristic and sometimes lyrical chapter on practicing. After Schenker's death, his student Oswald Jonas prepared the text for publication from Schenker's notes, eventually leaving the manuscript to his stepdaughter, Irene Schreier Scott, who entrusted the work of organizing andediting the disparate material to Jonas's friend and student Heribert Esser. She later translated it into English. This edition is the first publication in any language of this remarkable work. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. Nº de ref. del artículo: 9780195122541

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Schenker, Heinrich; Scott, Irene Schreier
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Schenker, Heinrich
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Schenker, Heinrich
Publicado por Oxford University Press (2000)
ISBN 10: 0195122542 ISBN 13: 9780195122541
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Descripción Gebunden. Condición: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. In this previously unpublished essay Schenker, one of the most influential music theorists of the twentieth century, turned his attention to the performer s role, arguing that the cult of the virtuoso has led to an overemphasis on technical display and disc. Nº de ref. del artículo: 545044173

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