This book proposes a model for understanding the musical work in which both analysis-based and performance-based modes of interpretation are integral to the work. Jeffrey Swinkin explores the important role that performance plays in elucidating a work and argues for the performative nature of music analysis itself, focusing in particular on Schenkerian analysis. Swinkin's aim is to show that music analysis is grounded in the same kinds of physical and emotional experiences that performers are necessarily concerned to project. Analysis and performance are thus deeply compatible and can enjoy an equitable, fruitful relationship. The first three chapters theorize this stance; the last three apply it to works by Chopin, Beethoven, and Schumann, respectively.
Jeffrey Swinkin is assistant professor of music theory at the University of Oklahoma.
Publisher: Boydell & Brewer Ltd
Number of pages: 280
Weight: 496 g
Dimensions: 229 x 152 x 18 mm
Thought-provoking and precise. The discourse is entertaining and manages to probe a number of...issues in practice. The most important impulse in Swinkin's approach appears to be his determination to transcend a conventional clear-cut separation of a "rational" analysis and an "intuitive" performance. [For one well-known Schumann song, the book's website includes] a performance that reveals both traces of misogyny and resistance to it, referencing subtexts of lyrics and musical structure. MUSIC THEORY SPECTRUM
Swinkin demonstrates how analysis can be "performative" in ways akin to actual performance -- and perhaps, even more, to the process of developing a performance through coaching, rehearsal, and practice. His "reimagining of music theory for performance" makes a courageous contribution to the field of analysis and performance. MUSIC THEORY ONLINE
An engaging book that will appeal especially to music analysts and those performers interested in exploring strategies for interpreting musical scores. Aspects of the discussion also provide useful links with related research on music and emotion, empathy, and embodied cognition. Swinkin's performative analysis...is about translating structural analysis into musical meaning via somatic, affective, or emotive metaphors that are considered to be of assistance to performers in their interpretations. His standpoint resonates with earlier approaches, but rather than being wholly prescriptive, it is regarded as performative and non-dictatorial. MUSIC & LETTERS [Elaine C. King]