Interpreting Chopin: Analysis and Performance
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A01=Alison Hood
Accentual Shift
advanced Schenkerian performance interpretation
analytical notation methods
Author_Alison Hood
Brahms's Op
Brahms’s Op
Category=AVA
Category=AVLA
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Chopin
Chopin's Music
Chopin's Prelude
Chopin's Works
Chopin’s Music
Chopin’s Prelude
Chopin’s Works
Common Tone Modulation
Durational Reduction
Enharmonic Reinterpretation
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Evgeny Kissin
Hidden Repetition
Linear Intervallic Pattern
metric displacement
Middleground Level
music performance analysis
Neighbour Motif
nineteenth-century piano music
Nocturne Op
Prelude Op
Primary Tone
Rhythmic Ambiguity
Rhythmic Analysis
Rhythmic Reduction
rhythmic structure theory
schenkerian
Schenkerian Analysis
Schenkerian Graph
Schenkerian Theory
Semitonal Neighbour
tonal ambiguity
Top Voice
Product details
- ISBN 9781409452096
- Weight: 703g
- Dimensions: 174 x 246mm
- Publication Date: 23 Apr 2014
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Music theory is often seen as independent from - even antithetical to - performance. While music theory is an intellectual enterprise, performance requires an intuitive response to the music. But this binary opposition is a false one, which serves neither the theorist nor the performer. In Interpreting Chopin Alison Hood brings her experience as a performer to bear on contemporary analytical models. She combines significant aspects of current analytical approaches and applies that unique synthetic method to selected works by Chopin, casting new light on the composer’s preludes, nocturnes and barcarolle. An extension of Schenkerian analysis, the specific combination of five aspects distinguishes Hood’s method from previous analytical approaches. These five methods are: attention to the rhythms created by pitch events on all structural levels; a detailed accounting of the musical surface; 'strict use' of analytical notation, following guidelines offered by Steve Larson; a continual concern with what have been called 'strategies' or 'premises'; and an exploration of how recorded performances might be viewed in terms of analytical decisions, or might even shape those decisions. Building on the work of such authors as William Rothstein, Carl Schachter and John Rink, Hood’s approach to Chopin’s oeuvre raises interpretive questions of central interest to performers.
Alison Hood is a Lecturer at the National University of Ireland, Maynooth, having previously lectured at Trinity College Dublin and the University of Oregon. She is a professional pianist and cellist. Her research interests lie in the area of analysis and performance, particularly in piano music from the nineteenth century.
