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This collection of essays highlights different questions concerning music theory, interpretation, and performance. Organized into four chapters, the first section looks into interpretation from a hermeneutic perspective, whereas the second analyses the application of this knowledge in musical practice. The discussion turns, in the third part, to a new field of music theory broadly labelled as performance studies. Focused on physical and psychological events, this section broaches fundamental issues such as gesture, bodily movement, expression, emotion, a whole set of processes that act within the framework of performance. The final section addresses the artistic practices in the 21st century across present-day cultural contexts.
Proposing a space for reflection in which one tries to imagine the relation between the scientific field and the interpretative process, this volume reflects the central issues of research in performance analysis, establishing connections between different disciplines, methodologies and research trends. It will be of essential interest to researchers, musicians and performers, and music students.
Madalena Soveral is Coordinator Professor at the Superior School of Music and Performing Art (ESMAE) at the Polytechnic Institute of Porto, Portugal. As a pianist, she has played, both solo and with an orchestra, in Europe, Asia, the Middle East and South America. She has recorded diverse albums with 20th century piano music, and published essays about contemporary Portuguese piano music including “Quatre compositeurs. Quatres oeuvres: la musique portugaise pour piano des années 90” (2016).Sara Zurletti currently teaches History of Music at the Conservatorio of Cosenza, Italy. She has published several books and essays, including “Th. W. Adorno Il concetto di materiale musicale” in Th. W. Adorno (2006); “Thomas Mann Amore luminoso, ridente morte. Il mito di Tristano nella Morte a Venezia di Th. Mann” (2016); and “Punti e contrappunti. Voci dell’estetica musicale italiana” (2015).
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