Analytical approach for performers of Volatile, for solo piano by Daniel Luzko
DOI:
https://doi.org/10.46553/mlc.6.2023.pp64-86Keywords:
Contemporary music, Performance practice, Piano, Paraguayan composerAbstract
The pianistic musical performance of post-tonal or contemporary music proposes challenges related to the organization of the compositional material whose sound result differs from the categories of tonal music. The analysis becomes necessary to solve this problem, but an analysis that, from the point of view of interpretative practices, interacts with instrumental practice and assists it.
An analytical approach for performers is proposed in this work, in which information on the work, both contextual and specific, will be crossed with aspects typical of the first stages of preparation for piano performance of the piece Volatile by the Paraguayan composer Daniel Luzko.
Downloads
References
Aleman, André et al. 2000. “Music training and mental imagery ability”. Neuropsychologia. 38: 1664 – 1668.
Antoniadis, Pavlos. 2011. "Physicality as a performer-specific perspectival point to I. Xenakis's piano work: Case study Mists." Ponencia presentada en el Xenakis International Symposium, Londres, 01 al 03 de abril.
Bernstein, Leonard. 1976. The unanswered question: Six talks at Harvard. Vol. 33. Cambridge: Harvard University Press.
Beaumont, Antony (Ed. y Trad.). 1987. Ferruccio Busoni: Selected Letters. New York: Columbia University Press.
Chueke, Zélia y Chaffin, Roger. 2017. “Performance cues for music “with no plan”: A case study of preparing Schonberg’s Op. 11, n. 3” New Thoughts about performance. London Piano Symposium, 2017: 253-268.
Clark, Terry, Aaron Williamon, and Aleksandar Aksentijevic. 2012. “Musical imagery and imagination: The function, measurement, and application of imagery skills for performance” En Musical Imaginations: Multidisciplinary perspectives on creativity, performance and perception, editado por David Hargreaves, Dorothy Miell y Raymond MacDonald, 351-365. Oxford Academic.
Cook, Nicholas. 2001. "Between process and product: Music and/as performance" Music theory online 2 (7/2001): 1-31.
Doğantan-Dack, Mine. 2012. “The art of research in live music performance”. Music Performance Research (5) 34-48.
Ginsborg, Jane, and Roger Chaffin. 2011. "Preparation and spontaneity in performance: A singer's thoughts while singing Schoenberg." Psychomusicology: Music, Mind and Brain. 1-2 (21): 137-158.
Halpern, Andrea R., and Gordon H. Bower. 1982. "Musical expertise and melodic structure in memory for musical notation." The American Journal of Psychology. 1 (92/1982): 31-50.
Haseman, Brad. 2006. A Manifesto for Performative Research. Media International Australia incorporating Culture and Policy, theme issue "Practice-led Research" No. 118: 98-106.
Jakubowski, Kelly. 2020. “Musical Imagery”. En The Cambridge Handbook of the Imagination, editado por A. Abraham (Cambridge Handbooks in Psychology, 187-206. Cambridge: Cambridge University Press.
LaRue, Jan. 1989. Análisis del estilo musical: pautas sobre la contribución al la música del sonido, la armonía, la melodía, el ritmo y el crecimiento formal. Barcelona: Labor.
Leimer, Karl y Gieseking, Walter. 1972 [1931] Piano technique. New York: Dover.
Lester, Joel. 1995. “Performance and analysis: interaction and interpretation”. En The Practice of Performance: Studies in Music Interpretation, editado por John Rink, 197-216. Cambridge: Cambridge University Press.
Luzko, Daniel. 2013. Volatile. [Partitura] Para piano solo. Archivo digital personal.
Marc-André Hamelin: No Limits. Serie Legato: The World of the Piano. 2007 [DVD] Jan Schmidt-Garre. Alemania: EuroArts.
Milanovic, Therese Elaine. 2012. “Learning and teaching healthy piano technique: Training as an instructor in the Taubman Approach”. Tesis de Doctorado. Queensland Conservatorium, Griffith University.
Ortiz Romero, Gonzalo Gabriel. 2018. “Considerações sobre a música pós-tonal para piano de compositores paraguaios”. Tesis de Maestría - Universidade Estadual de Campinas, Instituto de Artes, Campinas, SP. Disponible en: https://hdl.handle.net/20.500.12733/1636764. (Último acceso 1-08-2023).
Richerme, Claudio. 1997. A técnica pianística: uma abordagem científica. São João da Boa Vista, SP: AIR Musical Editora.
Rink, John. 2007. “Análise e (ou?) performance”. Cognição e artes musicais, 1 (2): 25-43.
Sándor, György. 1981. On piano playing: Motion, sound, and expression. New York: Schirmer.
Soares, Alexander X. 2015. “Memorisation of atonal music”. Tesis de Doctorado. Guildhall School of Music & Drama.
White. John D. 1994. Comprehensive Musical Analysis. Oxford: The Scarecrow Press, Inc.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2023 Gonzalo Gabriel Ortiz Romero
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
