1 Explorations in Music, The Arts, and Ideas- “ On the Relationship of Analytical Theory to Performance and Interpretation ” Eugene Narmour – University of Pennsylvania Arpi Mardirossian Wednesday, April 30, 2003

2 Introduction Music theory should teach how different interpretations alter the listener ’ s perception.  What contributes to a performance being ‘ good ’ or ‘ bad ’ ?  How does a specific performance make a difference to the listener ’ s experience? ComposerPerformerListener

3 Form If formal relations are not analyzed by the performer, then many negative consequences follow. Brahms, Intermezzo op. 118 no.1, mm. 1-7

4 Function A major structural event in both sonata and rondo form is the recapitulation or the return of the theme to the tonic. These functions combine to produce tension and suspense:  Prolongation of the dominant  Propelling motivic repetition Haydn, Symphony No. 94, I, mm

5 Structure How does performance influence musical structure?  For the listener, structure is a result of closure.  Closure occurs in various degrees.  Each parameter of music carries its internal means of closure.  The closure of one parameter may or may not coincide with the closure of another.

6 Structure - Rhythm  Closure occurs in harmony when dissonance moves to consonance.  Closure: V 7 – I, Nonclosure: I - V 7  Closure occurs in rhythm when a short duration moves to a longer duration.

7 Structure - Melody  The larger a melodic interval is, the more implicative it is.  The smaller a melodic interval is, the less implicative it is.  Single interval of a major sixth is more ‘ open ’ than a minor second.  Small intervals imply continuation in the same direction while large intervals imply a change in direction.

8 Parametric Noncongruence The Grave of the overture to Handel ’ s Messiah should be played in the double dotted fashion of a French Overture. Handel, Overture to Messiah, mm. 1-2

9 Evaluation of Performance Strauss, Der Rosenkavalier, Act II, Sc. 1

10 Evaluation of Performance Strauss, Der Rosenkavalier, Act II, Sc. 1 Least Imaginative – No piano-crescendo-subito pianissimo on the C sharp – A sharp leap

11 Evaluation of Performance Strauss, Der Rosenkavalier, Act II, Sc. 1 An improvement – With exception of lack of crescendo to the high A-sharp, Strauss ’ s dynamics are followed.

12 Evaluation of Performance Strauss, Der Rosenkavalier, Act II, Sc. 1 Very Expressive. The Best! Diminuendo to the high B is thrilling.