Performative analysis : reimagining music theory for performance

273 Pages·2016·25.546 MB·English

by  Swinkin, Jeffrey

Performative
Analysis
Reimagining Music Theory for Performance
J S
e f f r e y w i n k i n
Performative Analysis
SSwwiinnkkiinn..iinndddd ii 22//1177//22001166 55::5555::5533 PPMM
Eastman Studies in Music
Ralph P. Locke, Senior Editor
Eastman School of Music
Additional Titles of Interest
Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts
Michiel Schuijer
Bach to Brahms: Essays on Musical Design and Structure
Edited by David Beach and Yosef Goldenberg
A Dance of Polar Opposites:
The Continuing Transformation of Our Musical Language
George Rochberg
Edited by Jeremy Gill
Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno
Edited by Steven Vande Moortele, Julie Pedneault-Deslauriers,
and Nathan John Martin
Intimate Voices: The Twentieth-Century String Quartet, Volumes 1 and 2
Edited by Evan Jones
Looking for the “Harp” Quartet:
An Investigation into Musical Beauty
Markand Thakar
Music Theory and Mathematics: Chords, Collections, and Transformations
Edited by Jack Douthett, Martha M. Hyde, and Charles J. Smith
Narratives of Identity in Alban Berg’s “Lulu”
Silvio J. dos Santos
A Theory of Music Analysis: On Segmentation and Associative Organization
Dora A. Hanninen
The Whistling Blackbird: Essays and Talks on New Music
Robert Morris
A complete list of titles in the Eastman Studies in Music series may be found
on the University of Rochester Press website, www.urpress.com
SSwwiinnkkiinn..iinndddd iiii 22//1177//22001166 55::5566::0044 PPMM
Performative Analysis
Reimagining Music
Theory for Performance
Jeffrey Swinkin
SSwwiinnkkiinn..iinndddd iiiiii 22//1177//22001166 55::5566::0044 PPMM
The University of Rochester Press gratefully acknowledges generous support from
the AMS 75 PAYS Endowment of the American Musicological Society, funded in
part by the National Endowment for the Humanities and the Andrew W. Mellon
Foundation.
Copyright © 2016 by Jeffrey Swinkin
All rights reserved. Except as permitted under current legislation, no
part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast, transmitted,
recorded, or reproduced in any form or by any means, without the
prior permission of the copyright owner.
First published 2016
University of Rochester Press
668 Mt. Hope Avenue, Rochester, NY 14620, USA
www.urpress.com
and Boydell & Brewer Limited
PO Box 9, Woodbridge, Suffolk IP12 3DF, UK
www.boydellandbrewer.com
ISBN-13: 978-1-58046-526-7
ISSN: 1071-9989
Library of Congress Cataloging-in-Publication Data
Names: Swinkin, Jeffrey, author.
Title: Performative analysis : reimagining music theory for performance / Jeffrey
Swinkin.
Other titles: Eastman studies in music ; v. 132.
Description: Rochester, NY : University of Rochester Press, 2016. | 2 016 | Series:
Eastman studies in music, ISSN 1071-9989 ; v. 132 | Includes bibliographical
references and index.
Identifiers: LCCN 2015048905 | ISBN 9781580465267 (hardcover : alkaline paper)
Subjects: LCSH: Musical analysis. | Music—Interpretation (Phrasing, dynamics,
etc.) | Music—Performance—Psychological aspects.
Classification: LCC MT6 .S955 2016 | DDC 781.1/7—dc23 LC record available at
http://lccn.loc.gov/2015048905
A catalogue record for this title is available from the British Library.
This publication is printed on acid-free paper.
Printed in the United States of America.
SSwwiinnkkiinn..iinndddd iivv 22//1177//22001166 55::5566::0044 PPMM
Contents
Acknowledgments vii
Introduction 1
Part One: A Theory of Musical Interpretation
1 Analysis in the Musical Work 21
2 Two Interpretive Roles 42
Part Two: Analytical Essays
3 Schenkerian Analysis as Metaphor: Chopin, Nocturne in
C Minor, Op. 48, No. 1 75
4 An Analytical Dialogue: Beethoven, String Quartet in
C Minor, Op. 18, No. 4, First Movement 96
5 Musical Structure(s) as Subtext: Resisting Schumann’s “Ring” 167
Notes 219
Bibliography 247
Index 261
SSwwiinnkkiinn..iinndddd vv 22//1177//22001166 55::5566::0044 PPMM
SSwwiinnkkiinn..iinndddd vvii 22//1177//22001166 55::5566::0044 PPMM
Acknowledgments
While doing a masters in piano performance at University of Michigan in
1992, I was fortunate to cross paths with Kevin Korsyn, then a visiting profes-
sor. The two remarkable seminars he taught that year gave me the music the-
ory bug. When I returned to Michigan many years later to pursue a theory
PhD, I was received by a warm and welcoming faculty that included not only
Professor Korsyn but also Professors Patricia Hall, Wayne Petty, and Ramon
Satyendra. They, along with Professors Frederick Amrine and Silke-Maria
Weineck, offered superb feedback on early versions of the book, along with
copious encouragement. In addition, Professor Janet Schmalfeldt, during a
residency at Michigan in the fall of 2012, graciously agreed to read what is
here my fourth chapter and discuss it with me at length, which resulted in sev-
eral crucial clarifi cations. Dr. Jennifer Goltz was incredibly giving of her time
and talent in rehearsing and recording various interpretations of “Du Ring an
meinem Finger,” without which chapter 5, as I conceived it, would not have
been possible. I must also thank, at University of Rochester Press, Professor
Ralph Locke, Sonia Kane, and Julia Cook, as well as the two readers—one
anonymous, the other Professor Evan Jones of Florida State University—who
evidently lavished a great deal of time and care on my manuscript. Here at
the University of Oklahoma, Provost Kyle Harper, Fine Arts Dean Richard
Taylor, and Music School Director Larry Mallett—all under the auspices of a
Vice President for Research Publication Support Grant—generously under-
wrote the typesetting of the examples, which was done, rather handsomely, by
Dr. Kyle Vanderburg of NoteForge. Finally, thank you Rachel, Ken, Bill, Susan,
Ronnie, Art, and Carol for your unfl inching support of my academic endeav-
ors; it has meant a great deal to me.
SSwwiinnkkiinn..iinndddd vviiii 22//1177//22001166 55::5566::0044 PPMM
SSwwiinnkkiinn..iinndddd vviiiiii 22//1177//22001166 55::5566::0044 PPMM
Introduction
An Analytical Teaser
Jeff’s inner monologue as he practices Beethoven, Piano Sonata in E, op. 14, no. 1, sec-
ond movement [see ex. I.1]
Example I.1. Beethoven, Piano Sonata in E Major, op. 14, no. 1, mvt. 2, Allegretto.
Incipits of main formal sections.
SSwwiinnkkiinn..iinndddd 11 22//1177//22001166 55::5566::0044 PPMM