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Beyond the ScoreMusic as Performance$
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Nicholas Cook

Print publication date: 2014

Print ISBN-13: 9780199357406

Published to Oxford Scholarship Online: April 2014

DOI: 10.1093/acprof:oso/9780199357406.001.0001

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What the Theorist Heard

What the Theorist Heard

Chapter:
(p.56) 3 What the Theorist Heard
Source:
Beyond the Score
Author(s):

Nicholas Cook

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199357406.003.0003

Schenkerian theory, based on the work of the Viennese musician, writer, and teacher Heinrich Schenker (1868–1935), is nowadays the dominant theoretically informed performance pedagogy. But this pedagogy and present-day theorists’ understanding of Schenkerian theory are conditioned by a style of performance quite different from what Schenker had in mind. By reading Schenker’s writings in light of early twentieth-century performances, such as Eugen d’Albert’s, the chapter shows how Schenkerian approaches have been appropriated for a style of performance that was only coming into being in Schenker’s day, and that he opposed: the style that the chapter calls structuralist but that is in essence the sound of modernism. Through a brief history of recordings of Schubert’s Impromptu op. 90 no. 3, the chapter defines key distinctions between this performance style and the early twentieth-century style I call rhetorical performance.

Keywords:   Schenker, D’Albert, Schubert, structuralist, rhetorical

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