<html><head></head><body bgcolor="#FFFFFF"><div>See the Spring 2012 issue of Arkiv's 'Listen' magazine for a feature interview </div><div>with M Perahia, in which he discusses his indebtedness to Schenker and other interpretation/performance issues.<br></div><div><br></div><div>(In NYC, free copies of this issue available at Steinway Hall.)</div><div><br></div><div><br></div><div>Best regards,</div><div>Donna Doyle</div><div>Queens College CUNY</div><div>Flushing, NY</div><div>718-917-3819</div><div><br></div><div><br>On Jul 3, 2012, at 10:38 AM, Isaac Malitz <<a href="mailto:imalitz@omsmodel.com">imalitz@omsmodel.com</a>> wrote:<br><br></div><div></div><blockquote type="cite"><div>
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I will dive right in with a couple of proposed examples, for
whatever they are worth. Then I'll provide a cautionary comment.<br>
<br>
EXAMPLE1: Schenker Theory (or something like Schenker Theory)<br>
<br>
I studied piano with Aube Tzerko, a student of Artur Schnabel, who
taught a specific method of analysis which seems to have been
adapted from Schenker. Two of the goals of the analysis were [a] To
help the player to convey the "long line" or the "architecture" in a
piece of tonal music; [b] To help the player to convey detail in a
manner that is vivid, compelling, and true to the music. I and many
of my fellow students believe that Tzerko's methods were very
effective indeed. <br>
<br>
I am not a specialist in Schenker theory myself, I am primarily
schooled in Tzerko's adaptation of Schenker. Perhaps a Schenker
specialist may want to contribute some comments.<br>
I believe there are prominent musicians who claim that Schenker has
been influential in their work (Furtwangler; Murray Perahia; ...)<br>
<br>
EXAMPLE 2: OMS<br>
<br>
My primary research interest has been "OMS", which could be
described briefly as a way of modeling musical performances from an
"experiential" point of view. See <a class="moz-txt-link-abbreviated" href="http://www.OMSModel.com">www.OMSModel.com</a>
more information.<br>
<br>
In discussions with performing musicians (I am active in the
contemporary music activities in Los Angeles), I frequently
incorporate ideas from OMS. And I think these ideas have influenced
musical performances. The most evident influence I think has been to
help musicians to understand that a performance can be more
effective when designed as a "total experience" ("total experience"
involves careful consideration of the program, the venue, program
notes, etc., and also of the various ways in which the purely
musical content can affect the listeners. Performers are often
short-sighted of the total range of possible effect of a musical
performance, OMS can broaden a performer's perspective on what they
can do.)<br>
<br>
CAUTIONARY COMMENT:<br>
<br>
Just because a performer claims to have been influenced by theory
doesn't mean that they were significantly influenced by that theory
or that their performances audibly reflect the theory !<br>
<br>
<br>
Isaac Malitz, Ph.D.<br>
<a class="moz-txt-link-abbreviated" href="http://www.OMSModel.com">www.OMSModel.com</a><br>
<a class="moz-txt-link-abbreviated" href="mailto:imalitz@OMSModel.com">imalitz@OMSModel.com</a><br>
818-231-3965<br>
<br>
<br>
On 7/1/2012 11:15 AM, Eric Knechtges wrote:
<blockquote cite="mid:CAC7jrStCB3B1_2i3b-AKU24CGZtc+EF37Y6v+Oa0V+0Mga2Z+w@mail.gmail.com" type="cite">
<p>Dear collective wisdom,</p>
<p>This is an incredibly broad question (and non-specific on
purpose), so I'll gladly accept any and all suggestions you
would like to send.<br>
I'm interested in specific examples of where a specific
theoretical understanding of a piece of music has a direct and
audible impact on one's interpretation of that piece in
performance, especially in situations involving some ambiguity.
This could manifest itself on any level. If this could be
supported by references to different recordings showcasing
competing interpretations, even better. My goal is to stimulate
discussion among my undergrads about valuation and evaluation of
different interpretations, and why analysis is an important
piece of forming a personal (and "correct") interpretation.</p>
<br>
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