<div dir="ltr">Hi John,<div><br></div><div>Thanks for bringing up this fascinating question! It's very interesting to think about works that offer the performer a leading role in the creation of meaning. I very much admire Janet Schmalfeldt's work on form and performance in her book <i>In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music</i>, particularly the fifth chapter "On Performance, Analysis, and Schubert" (pages 113-131). </div><div><br></div><div>The chapter offers a brilliant reading of how "the formal ambiguity of Schubert's opening" in the first movement of D. 845 enables the performer to be "very much in charge of how listeners will perceive the unfolding design" (118). Discussing a range of recordings and possible interpretive strategies, Schmalfeldt demonstrates how the performer can influence our perception of the formal boundaries and goals in this movement. </div><div><br></div><div>Always attentive to emotional expression, Schmalfeldt shows how the performer's approach to form shapes the affective meanings of the music. She points to certain performance choices that might imbue the movement with a lament-like quality through highlighting its F-to-E bass motion (see page 121). Or the performer might choose a more heroic tone by emphasizing the pitch F as though this note is making a bid for autonomy (page 122).</div><div><br></div><div>Thanks again for starting this discussion; now I'm feeling motivated to put my current projects on hold so that I can head to the piano and try out D. 845! :)</div><div><br></div><div>Best,</div><div>Tekla</div><div><br></div><div><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr">Tekla Babyak (she/her/hers)<div>Independent Scholar, Davis, CA</div><div>Disability Activist with Multiple Sclerosis<br><div>PhD, Musicology, Cornell University (2014)</div></div><div>Member of the American Musicological Society Council and the Committee on the Annual Meeting</div></div></div></div></div></div><br></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Fri, Apr 30, 2021 at 9:48 AM John Paul Ito <<a href="mailto:itojp@cmu.edu">itojp@cmu.edu</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif">Hi everyone,<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif">With apologies to those of you who will have seen my full message on SMT Discuss, I wanted to bring one small, targeted request to this group.
<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif">I’m looking for literature on the topic of
</span><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:black;background:white">the way in which specific performance inflections can steer the meaning and expression of music in one direction or another. For example, how might a performance
of Shostakovich’s Fifth Symphony take a position on its being either triumphant or sarcastic? Or, how can a cover or a remix of a pop song change meaning and expression in relation to the original? I’d be happy to hear about insightful discussions of any
kind, including in magazine articles, record reviews, etc.<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:black;background:white">Thanks for any leads, and hope you’re all well,<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:black;background:white">John</span><span style="font-size:11pt;font-family:"Palatino Linotype",serif"><u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif">*PS: Please get enough sleep. Missing sleep knocks down your immune system. Even mild sleep deprivation makes it more likely to get a cold virus. (Google it…)
<u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif">I’ll be adding this tag to my emails until it seems like this message is getting out enough.<u></u><u></u></span></p>
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<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:black">___________________________________<br>
John Paul Ito<br>
Associate Professor of Music Theory<u></u><u></u></span></p>
<p class="MsoNormal" style="margin-bottom:12pt"><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:black">Director of Graduate Studies<br>
<a href="http://www.andrew.cmu.edu/user/johnito/" target="_blank"><span style="color:rgb(5,99,193)">www.andrew.cmu.edu/user/johnito/</span></a><u></u><u></u></span></p>
<p class="MsoNormal"><a href="http://www.andrew.cmu.edu/user/johnito/research/FIT/FIT.html" target="_blank"><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:rgb(5,99,193);text-decoration:none"><img border="0" width="66" height="93" style="width: 0.6875in; height: 0.9687in;" id="gmail-m_8039457247852358360Picture_x0020_1" src="cid:17923e5f42d4cff311" alt="signature_794049318"></span></a><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:black"><u></u><u></u></span></p>
<p class="MsoNormal"><span style="font-size:11pt;font-family:"Palatino Linotype",serif;color:black"><br>
School of Music<br>
Carnegie Mellon University<br>
5000 Forbes Ave.<br>
Pittsburgh, PA 15213<br>
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HOA 139<br>
412.268.1246<br>
412.268.1431 (FAX)</span><span style="font-size:11pt;font-family:"Palatino Linotype",serif"><u></u><u></u></span></p>
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