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Authors
Abstract(s)
El papel del análisis musical en la interpretación ha generado un debate amplio y polarizado: por un lado, están los que defienden la preponderancia del análisis musical sobre la interpretación; por otro lado, los que desechan cualquier utilidad del análisis en un contexto interpretativo. El presente estudio defiende una perspectiva intermedia: el análisis musical enriquece, en lugar de limitar, la libertad creativa del intérprete. Este punto de vista se defenderá mediante la exposición breve de tres teorías analíticas (Schenker, Ribeiro-Pereira y Meyer) y su aplicación al ámbito de la interpretación pianística mediante una selección de estudios de caso.
The role that musical analysis should play in performance has generated a wide and polarized debate: while some claim that musical analysis should take precedence over performance, others dismiss any usefulness of analysis in the context of performance. The present study argues for a middle ground: musical analysis enriches rather than limits the creative freedom of the performer. This perspective will be defended through a brief exposition of three analytical theories (Schenker, Ribeiro-Pereira and Meyer), and their application to the field of piano performance in a selection of case studies.
The role that musical analysis should play in performance has generated a wide and polarized debate: while some claim that musical analysis should take precedence over performance, others dismiss any usefulness of analysis in the context of performance. The present study argues for a middle ground: musical analysis enriches rather than limits the creative freedom of the performer. This perspective will be defended through a brief exposition of three analytical theories (Schenker, Ribeiro-Pereira and Meyer), and their application to the field of piano performance in a selection of case studies.
Description
Keywords
Interpretación pianística Análisis musical Schenker Meyer Ribeiro-Pereira Piano performance Musical analysis