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Title Details:
Parameters and dimensions of musical interpretation
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.
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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