On the Relation of Analysis to Performance: Beethoven's "Bagatelles" Op. 126, Nos. 2 and 5

Abstract

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Work Structure and Musical Representation: Reflections on Adorno's Analyses for Interpretation1

“…The relationship of work structure and musical representation is just as central in another debate, which was sparked off in English-language musicology after the publication of Edward T. Cone's book Musical Form and Musical Performance (Cone, 1968;Schmalfeldt, 1985;Narmour, 1988;Berry, 1989;Dunsby, 1989;Howell, 1992;Lester, 1995;Rothstein, 1995;Cook, 1999). Convictions which were disseminated widely in the nineteenth century-for example in the writings of Adolf Bernhard Marx and Hugo Riemann-went awry, while crucial questions were re-formulated and discussed: does the knowledge of the compositional structure affect the way in which a work is performed?…”

Virtual Works - Actual Things

“…14 Such a "truth" is problematic for reasons shown later. Other references to performance in narrative terms can be found in roughly contemporaneous writings by Janet Schmalfeldt (1985), Fred Maus (1988), and William Rothstein (1995), who claimed that the performer's aim is "to discover, or create, a musical narrative," synthesised "from all he or she knows and feels about the work; listeners, in turn, will construct their own narratives, guided by the performer. One performer's narrative may differ radically from another's for the same work, and not all will accord equally with the composer's intentions.…”

Analysis and Performance Studies. A Summary of Current Research

“…Musical Structure and Performance remains one of the most ambitious analysis and performance studies to date, yet its impact will likely be measured by the negative reactions it provoked, some of which accelerated the offshoot of entirely new branches within the discipline. The midpoint of the 1980s had brought the simultaneous publication of three important articles: Cone's affirmation and further development of hypermeter (Cone, 1985), Janet Schmalfeldt's dialogue between a performer and an analyst regarding issues of interpretation (Schmalfeldt, 1985), and David Epstein's application of cognitive science to the study of tempo (Epstein, 1985). While Cone's study demonstrated the continuing relevance of hypermeter for performance (cf.…”