Abstract
Abstract
More than anything else, I suppose, it was Wallace Berry’s book Musical Structure and Performance that marked the emergence of ‘analysis and performance’ as a recognized subdiscipline within music theory.1 Yet Berry’s book reads more like the summation than the opening-up of a field. It represents not so much a cross-disciplinary exercise—the attempt to forge a relationship between two fundamentally different activities—as an attempt to incorporate performance within the existing intellectual framework of theory. Berry’s very language locates the intersection of analysis and performance firmly on the theorist’s turf; his aim, says Berry, is to investigate ‘how … a structural relation exposed in analysis can be illuminated in the inflections of edifying performance’. In this way the direction is always from analysis to performance, and Berry reiterates this to the point that you almost wonder if, deep down, he really believes it. He refers to ‘the path from analysis to performance’, and elsewhere to ‘the path from analysis to interpretive decision’, he speaks of ‘the findings of analysis and consequent outlets in performance’, and of such findings being ‘in turn’ expressed in performance.
Publisher
Oxford University PressOxford
Cited by
38 articles.
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1. Appendix B;Swinglines;2024-05-31
2. Appendix A;Swinglines;2024-05-31
3. Reflections;Swinglines;2024-05-31
4. Shifting Accents;Swinglines;2024-05-31
5. When Polymeters Attack;Swinglines;2024-05-31