Gould [Gold], Glenn

Bazzana, Kevin

doi:10.1093/gmo/9781561592630.article.11543

Cited by 3 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Por una parte, Gould tenía una gran aversión a las multitudes, condición que confesó públicamente y cito: "Detesto las audiencias, no en su forma individual, sino en masa… Detesto las audiencias" (Gould, 2015), aunado a esto tenía cierta clase de odio al contacto, cosa que se podía ver en su vestimenta, la cual siempre se componía de varias capas de ropa, aunque se registraran temperaturas ambientales elevadas. Fue catalogado por Bazzana (2004) como una persona con una mezcla de problemas de ansiedad, depresión e hipocondría, acompañadas de características obsesivas, esquizoides y narcisistas. Y aunque este "diagnóstico" se mantiene, otros autores que se han dedicado a investigar el comportamiento de Gould tienen un diagnóstico diferente, el autismo.…”

Section: Genialidad O Condiciones Psíquicas Especiales Detrás De Las ...unclassified

Genialidad o condiciones psíquicas especiales detrás de las grandes mentes

Cruz Contreras,

Cruz Santillán,

Santillán Galván

2023

milenaria

View full text Add to dashboard Cite

El artículo presentado busca abordar algunos aspectos interesantes en la vida de dos grandes genios de áreas totalmente distintas, una del ámbito artístico: el pianista Glenn Gould y otra del ámbito científico: el físico matemático Nikola Tesla, puntualizando algunos aspectos relevantes de su vida privada y haciendo énfasis en una situación en común de ambas personalidades, condiciones psíquicas especiales que ambos presentaban y cómo influyeron en la realización de sus obras.

show abstract

Section: Genialidad O Condiciones Psíquicas Especiales Detrás De Las ...unclassified

Genialidad o condiciones psíquicas especiales detrás de las grandes mentes

Cruz Contreras,

Cruz Santillán,

Santillán Galván

2023

milenaria

View full text Add to dashboard Cite

show abstract

“…Danuser 1992, Sundin 1994, Bazzana 1997) approach musical performance using models of aesthetic thinking and other critical argument, an exercise that involves a complex articulation of several domains of study, namely history, aesthetics, technique, repertoire, and critical reception. The embodiment of these models in concrete performance can also be read on available research (e.g.…”

Section: Introductionmentioning

confidence: 99%

Antagonism and Mutual Dependency. Critial Models of Performance and “Piano Interpretation Schools”

Cruz¹,

Lourenço²

2011

CITAR Journal

View full text Add to dashboard Cite

To polarize and, coincidently, intersect two different concepts, in terms of a distinction/analogy between "piano interpretation schools" and "critical models" is the aim of this paper. The former, with its prior connotations of both empiricism and dogmatism and not directly shaped by aesthetic criteria or interpretational ideals, depends mainly on the aural and oral tradition as well the teacher-student legacy; the latter employs ideally the generic criteria of interpretativeness, which can be measured in accordance to an aesthetic formula and can include features such as non-obviousness, inferentially, lack of consensus, concern with meaning or significance, concern with structure or design, etc. The relative autonomy of the former is a challenge to the latter, which embraces the range of perspectives available in the horizon of the history of ideas about music and interpretation. The effort of recognizing models of criticism within musical interpretation creates the vehicle for new understandings of the nature and the historical development of Western classical piano performance, promoting also the production of quality critical argument and the communication of key performance tendencies and styles.

show abstract

“…are noisy things" [1.1] Glenn Gould's recordings are replete with sounds that do not appear in the scores of the works that he is performing. Such sounds range from his infamous singing to the creaking, cracking, and clicking sounds made by his loose-jointed piano chair (Bazzana 2004;Sanden 2009). Public opinion of these sounds has ranged from infatuation to annoyance; however, when the recordings were originally released, their status was precisely characterized.…”

mentioning

confidence: 99%

Gould’s Creaking Chair, Schoenberg’s Metric Clarity

Beaudoin

2021

MTO

View full text Add to dashboard Cite

The audible creaking of Glenn Gould’s loose-jointed piano chair has historically been the subject of apologetic liner notes and recording studio memoirs. These chair creaks are here recognized as “sounded movements” of Gould’s body. This article triangulates the score of Schoenberg’s Sechs kleine Klavierstücke, op. 19, no. 1, published analyses of its unique rhythmic unfolding, and new micro-temporal measurements of Gould’s September 1965 recording of the work. Quantifying Sanden’s concept of “corporeal liveness,” spectrographic tools are used to generate a proper census of all the sounds captured by the microphone in order to map their rhythmic interaction. A notable “creak gap” in Gould’s recording is linked to published observations regarding the work’s process of emerging metric clarity, and one of Gould’s vocal elaborations is recognized for its augmentation of Schoenberg’s pitch material. Overlaying analytical literature with microtiming data reveals a correlation between the composition’s trajectory of metric clarification and the decrease in Gould’s physical motion. The findings are used to question the pervasive and disturbing suppression of non-notated sounds that accompany the recording of notated music. Recognizing sounds that are normally marginalized, this study fuses theoretical observations about Schoenberg’s composition with the audio artifacts of Gould’s corporeality.

show abstract

Gould [Gold], Glenn

Cited by 3 publications

References 0 publications

Genialidad o condiciones psíquicas especiales detrás de las grandes mentes

Genialidad o condiciones psíquicas especiales detrás de las grandes mentes

Antagonism and Mutual Dependency. Critial Models of Performance and “Piano Interpretation Schools”

Gould’s Creaking Chair, Schoenberg’s Metric Clarity

Contact Info

Product

Resources

About