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- W2990393407 abstract "‘Players should understand what they play.’ This pithy pronouncement, at the start of Donald Francis Tovey's Companion to Beethoven's Pianoforte Sonatas (1931: iii), articulates one of the prime rationales for producing and publishing music analyses. Like most analysts, Tovey lists, discusses and graphically depicts both obvious and subtle features of the music, apparently on the assumption that this knowledge will be immediately useful to performers. Occasionally, theorists suggest or even insist on specific performance directions based on their analyses, as Heinrich Schenker does in his 1925 essay on the Largo from J. S. Bach's Sonata in C major for Solo Violin. More recent literature includes two notable books aimed at performers which explain how analysis would help them: Edward T. Cone's Musical Form and Musical Performance (1968) and Wallace Berry's Musical Structure and Performance (1989), the latter including many more specific performance directions than the former. Within the past decade, additional articles and review-articles specifically address the relation of analysis to performance (especially Schmalfeldt 1985, Dunsby 1989, Rink 1990 and Howell 1992)." @default.
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- W2990393407 date "1995-12-07" @default.
- W2990393407 modified "2023-10-15" @default.
- W2990393407 title "Performance and analysis: interaction and interpretation" @default.
- W2990393407 doi "https://doi.org/10.1017/cbo9780511552366.010" @default.
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