Oral Presentations - Session 2E: UC 332
Bridging the Gap Between Theory and Practice: Interpreting Beethoven's Sonata No. 17, "The Tempest"
Presentation Type
Presentation
Faculty Mentor’s Full Name
James Randall
Faculty Mentor’s Department
Music
Abstract / Artist's Statement
Classical musicians generally believe that that an interpretation informed by theoretical analysis will result in a deeper understanding of the work and therefore a more moving performance. Many theoretical models however, use highly specialized and abstract terminology, and few musicians learn them to the degree that they may prove useful in a performer’s interpretation of a work. Thus there is a gap between theory and practice. The purpose of this research is to provide a straightforward method of analysis that aids a performer first in understanding how a piece of music ‘works’ structurally and then offers a practical way of attaching meaning to the analysis so as to fully realize a work’s affective potential in performance. Drawing upon theoretical models developed by Leonard B. Meyer, Edward T. Cone, and Gregory Karl, I analyze Beethoven’s Piano Sonata No. 17 (The Tempest,” so named for its dramatic similarities to Shakespeare’s play). Then, through a discussion of listener expectations and musicological components such as the historical setting of the work’s composition, I show expressive possibilities for a performer to apply this analysis. I hope this will provide a pedagogical model for how teachers might explore and deal with theoretical musical elements in plain language with reference to real human experience so that performers might arrive at a meaningful, communicative realization of a work.
Bridging the Gap Between Theory and Practice: Interpreting Beethoven's Sonata No. 17, "The Tempest"
UC 332
Classical musicians generally believe that that an interpretation informed by theoretical analysis will result in a deeper understanding of the work and therefore a more moving performance. Many theoretical models however, use highly specialized and abstract terminology, and few musicians learn them to the degree that they may prove useful in a performer’s interpretation of a work. Thus there is a gap between theory and practice. The purpose of this research is to provide a straightforward method of analysis that aids a performer first in understanding how a piece of music ‘works’ structurally and then offers a practical way of attaching meaning to the analysis so as to fully realize a work’s affective potential in performance. Drawing upon theoretical models developed by Leonard B. Meyer, Edward T. Cone, and Gregory Karl, I analyze Beethoven’s Piano Sonata No. 17 (The Tempest,” so named for its dramatic similarities to Shakespeare’s play). Then, through a discussion of listener expectations and musicological components such as the historical setting of the work’s composition, I show expressive possibilities for a performer to apply this analysis. I hope this will provide a pedagogical model for how teachers might explore and deal with theoretical musical elements in plain language with reference to real human experience so that performers might arrive at a meaningful, communicative realization of a work.