Title Details: | |
Parameters and dimensions of musical interpretation |
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Authors: |
Aimard, Pierre-Laurent Ramou, Lorenda (Tr.) |
Reviewer: |
Avgerinos, Yiannis |
Subject: | HUMANITIES AND ARTS > ARTS AND LETTERS > ARTS > ARTISTS > COMPOSERS HUMANITIES AND ARTS > ARTS AND LETTERS > ARTS > ARTISTS > PERFORMERS > MUSICAL PERFORMERS HUMANITIES AND ARTS > ARTS AND LETTERS > PERFORMING ARTS > MUSIC > MUSICAL INSTRUMENTS > KEYBOARD INSTRUMENTS HUMANITIES AND ARTS > ARTS AND LETTERS > PERFORMING ARTS > MUSIC > MUSICOLOGY > ANALYSIS (MUSIC) HUMANITIES AND ARTS > ARTS AND LETTERS > PERFORMING ARTS > MUSICAL STYLES > CLASSICAL MUSIC HUMANITIES AND ARTS > ARTS AND LETTERS > PERFORMING ARTS > MUSICAL STYLES > CONTEMPORARY MUSIC |
Keywords: |
Collège de France
Chair Artistic Creation Piano Musical interpretation Classical music composers Composition Concert curation Virtuosity Musical time Musical language Timbre Polyphony Musical form Bach Beethoven Boulez |
Description: | |
Abstract: |
The book contains the texts of a series of lectures given in Paris by pianist Pierre-Laurent Aimard, who was awarded the 2009 Chair of Artistic Creation at the College of France. In the lectures, which last more than 16 hours in total, Aimard begins with his thoughts on the role of performers as active artists, the curation of concert programs, and the use of our bodies’ potential in relation to the instrument. Continuously playing excerpts on the piano (which are embedded in the text with hyperlinks), he examines works spanning the widest range of the piano repertoire, from François Couperin and J.S. Bach, the Viennese classics and the major representatives of Romanticism, to the ‘pillars’ of 20th century innovations (Debussy, Schoenberg, Webern, Bartók, Messiaen, Boulez, Stockhausen, Ligeti, Kurtág) and up to the works of Elliot Carter, George Benjamin and Marco Stroppa. His originality lies in the way he makes a direct connection between compositional technique and interpretation, choosing to unify his observations under a series of themes, representing ‘problems’ that composers of all times have posed in the process of composing, and to which they have given different solutions in each era. He examines the concept of virtuosity, the perception of musical time, the relationship with the spoken language, the relationships between pitches in different harmonic environments, the pianistic timbre in different styles, the evolution of polyphony and form. The study of these texts and the works to which they refer can trigger in their audience a deeper relationship with the pianistic repertoire, with the connection between compositional and interpretive praxis and with the highest goals of a fascinating pianistic virtuosity.
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Linguistic Editors: |
Sakellariou, Anastasia |
Technical Editors: |
Mpismpiroulas, Konstantinos |
Graphic Editors: |
Kaitsa, Elena-Natassa |
Type: |
Undergraduate textbook |
Creation Date: | 28-05-2025 |
Item Details: | |
ISBN |
ISMN 979-0-9016202-2-3 |
License: |
Attribution - NonCommercial - ShareAlike 4.0 International (CC BY-NC-SA 4.0) |
DOI | http://doi.org/10.57713/kallipos-1088 |
Handle | http://hdl.handle.net/11419/14925 |
Bibliographic Reference: | Aimard, P., & Ramou, L. (Tr.). (2025). Parameters and dimensions of musical interpretation [Undergraduate textbook]. Kallipos, Open Academic Editions. https://doi.org/10.57713/kallipos-1088 |
Language: |
Greek |
Consists of: |
1. 1st lesson Curating (1). Relating works between them. Creation of programs, pedagogical strategies 2. 1st lesson (continuation) Curating (2). Relating works between them, creation of programs, pedagogical strategies 3. 2nd lesson Body and space. The interpreter and the stage, the body of the interpreter. Different ways of producing the sound, multiplicity of techniques, sound projection 4. 3rd lesson Virtuosities. Creative approaches of virtuosity through History 5. 4th lesson Counting time: pulse, rhythm. Conceptions and experiences of time in music 6. 1st seminar Language and discourse (1). Reconstitution of phrases in the traces of Bach, Mozart, Chopin, Schumann, Kurtág 7. 1st seminar (continuation) Language and discourse (2). Reconstitution of phrases in the traces of Bach, Mozart, Chopin, Schumann, Kurtág 8. 5th lesson Language and discourse. Relation between spoken language and music language. Grammar, articulation, elocution 9. 6th lesson The sound. The sound relation between pitches (intervals, harmonies, colours), the scales 10. 2nd seminar The sound (1). Choice of sound quality according to style or context 11. 2nd seminar (continuation) Τhe sound (2). Choice of sound quality according to style or context 12. 3rd seminar Polyphonies (1). How to interpret different polyphonic styles 13. 3rd seminar (continuation) Polyphonies (2). How to interpret different polyphonic styles through History 14. 7th lesson Form. Thoughts on different types of forms. Form and memory 15. 4th seminar Form (1). Some games of re-construction with Beethoven… and others 16. 4th seminar (continuation) Form (2). Some games of re-construction with Beethoven… and others |
Number of pages |
268 |
Publication Origin: |
Kallipos, Open Academic Editions |
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