256 Pages
by
Routledge
256 Pages
by
Routledge
256 Pages
by
Routledge
Also available as eBook on:
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... Read more
Contents: Foreword, Robert S. Hatten; Preface; Introduction. Part I Revealing the Hidden Dimensions: Introduction; Rhythm; Foreground emphasis; Strict use; Strategy/premise; Dialogue with performance; Conclusion. Part II Preludes Op. 28: Introduction; A comparative review of analytical approaches: Prelude No. 5; Phrase structure and metric ambiguity: Prelude No. 12; Tonal and rhythmic hidden repetition in Prelude No. 14; Contour and flux: Prelude No. 16; Figuration in Prelude No. 21; Ambiguity of tonal meaning: Prelude No. 22; Conclusion. Part III Nocturnes: Introduction; Shared compositional strategies in Chopin’s Nocturnes Op. 48; Intra-opus connections in Chopin’s Nocturnes Op. 27; Conclusion. Part IV The Barcarolle: Structural coupling in the coda of Chopin’s Barcarolle. Conclusion; Select bibliography; Index.
Biography
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.
