<html>Dear all:<br>In citing K. 545 John brings up what is to me the clearest example of how acoustical events generated by an instrument may be thought to generate structural ... fill in the blank... considerations?<br><br>Modern day musicians have to a large extent lost the sense of the astonishing difference in inflection between black and white keys. Because the action of the piano is entirely levered and because relative leverage has a direct impact on the resonance of individual tones, the notion of playing an idea in two different keys becomes impossible. A musical theme in two different keys becomes two different ideas. This is, of course, not a theoretical notion, but an experiential one. It is why I am a pianist, not a theorist. <br><br>The black-key/white key phenomenon would have been stunning to a musician in the 18th century, as no other keyboard instrument possessed that characteristic. In modern times notions such as equal temperament have diminished auditory acuity for many students and teachers alike. <br><br>Nancy Garniez<br>Pianist<br><br><br><br><br><div><font color="#0000ff" face="Verdana" size="2"></font> </div>
<blockquote style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px solid; MARGIN-RIGHT: 0px"><font face="Tahoma" size="2">-----Original Message-----<br><b>From:</b> John Snyder [mailto:JLSnyder@uh.edu]<br><b>Sent:</b> Thursday, July 5, 2012 08:11 PM<br><b>To:</b> 'Eric Knechtges'<br><b>Cc:</b> smt-talk@lists.societymusictheory.org<br><b>Subject:</b> Re: [Smt-talk] Theory impacting performance<br><br></font>
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<div class="moz-cite-prefix">Dear all,<br>
<br>
I'm not sure if this is what Prof. Knechtges had in mind, but I'll
put my<br>
oar in anyway.<br>
<br>
One issue that comes up in any introduction to large forms is the
complex<br>
nature of sonata form: the binary tonal structure overlaid with a
three-part<br>
thematic plan (simplified, of course, for expediency). And one of
the many<br>
pieces that throw that problem into sharp relief is Mozart's KV
545, first<br>
movement. Viewed as a three-part design, just where is the recap?
Can it<br>
really be a recap in THAT key?? And so on and so forth. For a
performer,<br>
that question becomes quite audible in that a decision must be
made as<br>
to whether to mark or bring out in some way this (alleged)
recapitulation.<br>
<br>
There are many recordings, with lots of gradations. Two that I
find very good<br>
but very, very different with respect to this particular issue are
those by<br>
Mitsuko Uchida and Christoph Eschenbach. I won't say here whose<br>
recording seems to illustrate which view of the form, and I
certainly<br>
cannot begin to speak to either performer's influences or thought
processes,<br>
but a comparison, after the class has wrestled with the issue in<br>
analysis, ought to provoke a lively discussion.<br>
<br>
With best wishes,<br>
<br>
John Snyder<br>
<br>
<br>
Eric Knechtges wrote:<br>
</div>
<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>
<p>Please feel free to take whatever tack you wish in responding.
Even if you don't know of any accompanying recordings, anything
is welcome! I'd like to focus on examples in purely instrumental
music, but vocal music excerpts are certainly welcome as well.</p>
<p>Thank you!</p>
<p>Eric Knechtges, DM<br>
Assistant Professor of Theory/Composition<br>
Northern Kentucky University </p>
<br>
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<br>
<pre class="moz-signature" cols="72">--
John L. Snyder
Professor of Music Theory and Musicology
Moores School of Music
University of Houston
713-743-3143
<a href="mailto:JLSnyder@uh.edu" class="moz-txt-link-abbreviated" mce_href="mailto:JLSnyder@uh.edu" target="_blank">JLSnyder@uh.edu</a>
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