AnalysisandPerformance, orwissen, können, kennen

Abstract

To counter the view that types of musical analysis not immediately relevant to performers are irrelevant to “music as performance,” this essay suggests that music exists in various states, and that changes between such states constitute transformations. Score-based analysis of musical structure and study of musical performance contribute to the understanding of music in this broad sense; analysis and performance dialogue productively when their distinctions as well as their correspondences are valued and interrogated. Analysis and performance exhibit multiple ways of knowing:wissen(knowing that),können(knowing how), andkennen(knowing, as in knowing a person). These ways of knowing are shown at play in a rehearsal of Shende’sThrow Down or Shut Up!.

Empirical Approaches to the Performance Analysis of New Music

“…As with Thomas and myself, his observations are informed by extensive experience of performing the piece, as well as the relatively rich literature on Xenakian performance practice. 10 Like Cook, Duinker questions 'the utility of a score-centred analytical approach' (p. 1), choosing instead-via the influence of Caroline Palmer (1996) and Daphne Leong (2016)-to work 'backwards from performances to recover sources of the expression and manifestation of structure' (pp. 2-3).…”