AnalysisandPerformance, orwissen, können, kennen
Bibliographic Data
| ID | 4870969 |
|---|---|
| Authors | Daphne Leong (University of Colorado Boulder, corresponding author) |
| Year | 2016 |
| Volume | 22 |
| Issue | 2 |
| Publication date | 2016-06-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.22.2.6 |
| OpenAlex | W2981307160 |
| Language | EN |
| Citations received | 6 |
| References cited | 12 |
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
Aesthetics · Art · Cognitive psychology · Musical · Visual arts · Arts, Culture, and Music Studies · Musicology and Musical Analysis · Neuroscience and Music Perception · Psychology
| Unique citing works | 6 |
|---|---|
| Citations per year | 1,2 |
| Citation span | 2021 - 2025 (5) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 6 |