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To See Music in Your Mind's Eye : = The Genesis of Memorization as a Piano Performance Practice.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	To See Music in Your Mind's Eye :/
其他題名:	The Genesis of Memorization as a Piano Performance Practice.
作者:	Hirata, Makiko.
面頁冊數:	1 online resource (167 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
Contained By:	Dissertation Abstracts International79-05A(E).
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780355383300

To See Music in Your Mind's Eye : = The Genesis of Memorization as a Piano Performance Practice.
Hirata, Makiko.

To See Music in Your Mind's Eye :The Genesis of Memorization as a Piano Performance Practice. - 1 online resource (167 pages)

Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.

Thesis (D.M.A.)

Includes bibliographical references

This study examines the genesis of memorization as a piano performance practice, contextualizing it within the major technological, political, aesthetic, and philosophical movements of the 19th century. Its significance becomes apparent when considered with several other notable changes that coincided with the development of performance practice. These include the rise and fall of virtuosos, the emergence of non-composing performers and non-performing composers, the establishment of the musical canon, the ritualization of concerts and the disappearance of the art of improvisation. The first chapter "Innate Memory" considers memory as an inherent aspect of any musical experience, and surveys the general shift from oral culture (based on memory) to literal culture (based on writing). Next, "Virtuosic Memory" considers memorization as an enhancement to virtuosic acts as super-human and sublime. Finally, "Transcendental Memory" examines memorization as an ultimate manifestation of the Werktreue (true-to-work) spirit - a veneration of the canonized work reflecting the performer's scrupulous study and internalization of the score.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355383300Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

To See Music in Your Mind's Eye : = The Genesis of Memorization as a Piano Performance Practice.
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500 $a Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
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504 $a Includes bibliographical references
520 $a This study examines the genesis of memorization as a piano performance practice, contextualizing it within the major technological, political, aesthetic, and philosophical movements of the 19th century. Its significance becomes apparent when considered with several other notable changes that coincided with the development of performance practice. These include the rise and fall of virtuosos, the emergence of non-composing performers and non-performing composers, the establishment of the musical canon, the ritualization of concerts and the disappearance of the art of improvisation. The first chapter "Innate Memory" considers memory as an inherent aspect of any musical experience, and surveys the general shift from oral culture (based on memory) to literal culture (based on writing). Next, "Virtuosic Memory" considers memorization as an enhancement to virtuosic acts as super-human and sublime. Finally, "Transcendental Memory" examines memorization as an ultimate manifestation of the Werktreue (true-to-work) spirit - a veneration of the canonized work reflecting the performer's scrupulous study and internalization of the score.
520 $a Traditional piano pedagogy has associated memorization with the notion of absolute music: entirely self-referential instrumental music with no extra-musical association. The piano was promoted as a "one-man orchestra." The expectation that music should be performed from memory has been more strongly imposed on solo pianists than on any other musicians because the elimination of the score emphasized the pianist's autonomy, even from the corporeal representation of music. It allowed piano virtuosos to be even more spectacular. Even more importantly, memorization cast pianists as "priests" of ritualized concerts: their memorized delivery enhanced the image of more direct communion with the canon. However, the "priesthood" also demoted performers as conduits to the canon. Thus, the socially marginalized, such as women and ethnic minorities, started to emerge as non-composing pianists as the practice was established. Memorization as a practice is a reflection of the nineteenth-century aesthetic philosophy and its social context. Our continuation of the practice to this day attests to the extent of its influence. Examining its historical background enables us to reevaluate our cultural inheritance, and reexamine our own musical identity and aesthetics.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
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773 0 $t Dissertation Abstracts International $g 79-05A(E).
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