Creation of Structure
This chapter questions the role of the notated score in delimiting structure. Examining first the soundness of the published editions of Schoenberg’s Op. 19, No.4, and then analyzing the score and recordings by three pianists associated with Schoenberg interpretation (Edward Steuermann, Maurizio Pollini, and Mitsuko Uchida), it demonstrates how structure can be defined by the interpreter—analyst or performer. A view of interpretation as creation is set against a backdrop of a score’s affordances, including those of text or script.
Keyword(s):
Keyword(s):
2000 ◽
Vol 179
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pp. 387-388
1977 ◽
Vol 36
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pp. 143-180
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1975 ◽
Vol 26
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pp. 293-295
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