Playing in time: rhythm, metre and tempo in Brahms's Fantasien Op. 116

Speaking of your own repertoire: an investigation of music performance during practice

“…Although the concept of gesture (Hatten, 2012) goes beyond performer's analysis, it opens up the possibility that all the analytic details are expressed in performing. His approach, revealing how performers feel and express even trivial musical details during performances, complements the performer's analysis suggested by Rink (2002).…”

“…Although the use of music analysis of music performance has been asserted by music theorists, the nature of music analysis in performing appears to be distinct from theoretical music analysis. Rink (2002) suggested the concept of performer's analysis as an independent type of music analysis. In Rink's view, performers' study of music scores interacts with their musical intuitiona form of musical knowledge influential in performance but non-verbally expressed (Cook, 1994) and results in performers' informed intuition.…”

“…Comparable with this notion, Nolan (1993) agreed that a structural analysis of music contributes to the emergence of musical sensibility in performers. Performer's analysis, as defined by Rink (2002), indicates a continuum consisting of performers' study of music driven by the structural aspects of scores and its integration with intuition in achieving music performance. Although Hallam et al (2012) focused on the development of practice strategies in relation to musical expertise, their study specifically posited an approach to music practice that analyses the structure of a music score or a piece of music before practice.…”

“…Rink's performer's analysis (2002) represents a robust approach to musical interpretation, and a number of studies have shed light on how performer's analysis works in the process of music performance. For instance, observational studies on the modification of expressive components, including rhythm, metre and tempo (Gabrielsson, 1987;Todd, 1992;Lester, 1995;Rink 1995;Rothstein, 1995), have shown the outcomes of performer's analysis in actual performance.…”

Nicholas Cook, Beyond the Score: Music as Performance, New York: Oxford University Press 2013

“…Small 1998. 6 Riemann (1916 Clarke 1988Clarke , 1995Cook 1987Cook , 1995Cook , 2001Leech-Wilkinson 2001Rink 1995Rink , 2002 Interpreten zu dokumentieren und zu analysieren -eine Dimension, die längst zu einem breiten eigenständigen Forschungsfeld geworden ist und rein empirische Methoden 19 ebenso umfasst wie ethnographisch-deskriptive. 20 Cook pointiert hierbei seine Kritik am textorientierten Werkbegriff in der These vom »work as performance« (237-248).…”