Interpreting Chopin: Analysis and Performance by Alison Hood

By Alison Hood

Tune conception is usually obvious as autonomous from - even antithetical to - functionality. whereas track thought is an highbrow company, functionality calls for an intuitive reaction to the track. yet this binary competition is a fake one, which serves neither the theorist nor the performer. In examining Chopin Alison Hood brings her event as a performer to endure on modern analytical types. She combines major elements of present analytical methods and applies that specific man made way to chosen works by means of Chopin, casting new mild at the composer s preludes, nocturnes and barcarolle and elevating interpretive questions of vital curiosity to performers.

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This may be taken as a criticism of Schenker’s theories – or more specifically as a denial of the perceptual significance of the Ursatz. 17 I apply Larson’s suggestion to the rhythmic domain, suggesting that it might be possible that deeper levels of metric structure may exist that we do not experience either kinaesthetically or aurally. According to that view, deeper levels of metrical hierarchy are perfectly real, even if they are not always perceived. We can conclude that these multilevel hidden repetitions are not equivalent – structurally or perceptually – but knowledge of the existence of relationships between levels can, nevertheless, influence performance interpretation.

The following section explains the specific analytical tools that I have used in finding and demonstrating these compositional techniques. To integrate Schenkerian analysis and rhythm, this book combines voice-leading graphs with focus on rhythm and metre using rhythmic analytical techniques related to, or derived from, Schenkerian theory. These include rhythmic normalization, and the use of rhythmic and durational reductions. Rhythmic Normalization This analytical approach incorporates the concepts of rhythmic displacement and normalization.

This page has been left blank intentionally 1 Rhythm Rhythm is the lifeblood of music and its realization in performance. It is also one of the main ways that music communicates meaning and emotion. It is an essential element of interpretation, and the ability to highlight and manipulate rhythm often distinguishes amateurs from professional musicians. Indeed, many of the most important interpretive decisions performers make lie in the temporal domain. 1 Chopin’s Compositional Techniques My focus on rhythm casts new light on many of Chopin’s compositional techniques and allows us to say much about the music that seems of real interpretive value.

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