LEADER 04321nam 2200613Ia 450 001 9910451690603321 005 20200520144314.0 010 $a1-280-53003-0 010 $a9786610530038 010 $a0-19-802858-X 010 $a1-4294-0379-9 035 $a(CKB)1000000000465723 035 $a(StDuBDS)AH24085251 035 $a(SSID)ssj0000105902 035 $a(PQKBManifestationID)12026188 035 $a(PQKBTitleCode)TC0000105902 035 $a(PQKBWorkID)10102214 035 $a(PQKB)10451560 035 $a(MiAaPQ)EBC3052386 035 $a(Au-PeEL)EBL3052386 035 $a(CaPaEBR)ebr10212171 035 $a(CaONFJC)MIL53003 035 $a(OCoLC)71801589 035 $a(EXLCZ)991000000000465723 100 $a19990222d2000 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe art of performance$b[electronic resource] /$fHeinrich Schenker ; edited by Heribert Esser ; translated by Irene Schreier Scott 210 $aNew York $cOxford University Press$d2000 215 $a1 online resource (xxvii, 101 p. ) $cfacsims., music 300 $aAn unfinished work edited from the author's papers in the New York Public Library and the University of California at Riverside. 311 $a0-19-512254-2 320 $aIncludes bibliographical references and index. 327 $aMusical Composition and Performance; Mode of Notation and Performance; The Technique of Playing the Piano; Non Legato; Legato; Staccato; Fingering; Dynamics; Tempo and Tempo Modifications; Rests; The Performance of Older Music; On Practicing. 330 $aSchenker was one of the most influential music theorists of the 20th century. In this essay, he turns his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display. 330 $bHeinrich Schenker's The Art of Performance shows this great music theorist in a new light. While his theoretical writings helped transform music theory in the twentieth century, this book draws on his experience as a musician and teacher to propose a sharp reevaluation of how musical compositions are realized in performance. Filled with concrete examples and numerous suggestions, the book will interest both music theorists and practicing performers. Schenker's approach is based on his argument that much of contemporary performance practice is rooted in the nineteenth-century cult of the virtuoso, which has resulted in an overemphasis on technical display. To counter this, he proposes specific ways to reconnect the composer's intentions and the musician's performance. Schenker begins by showing how performers can benefit from understanding the laws of composition. He demonstrates how a literal interpretation of the composer's indications can be self-defeating, and he provides a lively discussion of piano technique, including suggestions for pedal, sound color, orchestral effects, and balance. He devotes separate chapters to non-legato, legato, fingering, dynamics, tempo, and rests. In addition to the examples for pianists, Schenker covers a number of topics, such as bowing technique, that will prove invaluable for other instrumentalists and for conductors. The book concludes with an aphoristic and sometimes lyrical chapter on practicing. After Schenker's death, his student Oswald Jonas prepared the text for publication from Schenker's notes, eventually leaving the manuscript to his stepdaughter, Irene Schreier Scott, who entrusted the work of organizing and editing the disparate material to Jonas's friend and student Heribert Esser. She later translated it into English. This edition is the first publication in any language of this remarkable work. 606 $aPiano music$xInterpretation (Phrasing, dynamics, etc.) 606 $aPiano$xPerformance 608 $aElectronic books. 615 0$aPiano music$xInterpretation (Phrasing, dynamics, etc.) 615 0$aPiano$xPerformance. 676 $a786.2/193 700 $aSchenker$b Heinrich$f1868-1935.$0859241 701 $aEsser$b Heribert$01000114 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910451690603321 996 $aThe art of performance$92295691 997 $aUNINA LEADER 03525nam 2200517 450 001 9910795294203321 005 20230803211828.0 010 $a3-8467-5709-8 024 7 $a10.30965/9783846757093 035 $a(CKB)4920000000125600 035 $z(OCoLC)894197468 035 $a(nllekb)BRILL9783846757093 035 $a(MiAaPQ)EBC6514274 035 $a(Au-PeEL)EBL6514274 035 $a(OCoLC)1243547411 035 $a(EXLCZ)994920000000125600 100 $a20220530d2014 uy 0 101 0 $ager 135 $aurun| uuuua 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $2rdacarrier 200 10$aBilderfahrung und Psychopathologie $ePha?nomenologische Anna?herungen an Die Sammlung Prinzhorn /$fThomas Fuchs, Stefano Micali, Sonja Frohoff 210 1$aPaderborn :$cWilhelm Fink Verlag,$d[2014] 210 4$d©2014 215 $a1 online resource 225 1 $aÜbergänge ;$v66 311 $a3-7705-5709-3 327 $aPreliminary Material /$rSonja Frohoff , Thomas Fuchs and Stefano Micali -- Vorwort /$rSonja Frohoff , Thomas Fuchs and Stefano Micali -- Die Eigenheit der ?Bildnerei der Geisteskranken? /$rRudolf Bernet -- Die Anomalität von Kunstbildern und Patientenbildern /$rBernhard Waldenfels -- Über die Darstellung in der Psychopathologie /$rMarc Richir -- Das Unheimliche im Bild. Eine phänomenologische Studie anhand von Werken der Sammlung Prinzhorn /$rThomas Fuchs -- Gesten der Resonanz. Dimensionen des Leiblichen im Geflecht von kreativem Ausdruck und Rezeption /$rSonja Frohoff -- Erfahrungen der Liminalität. Kunst- und Sprachbilder an den Grenzen des Verstehens /$rDaniel Sollberger -- Das Un-sinnige Bild /$rStefan Kristensen -- Die Kraft des Grundes /$rGottfried Boehm -- Abbildungsverzeichnis /$rSonja Frohoff , Thomas Fuchs and Stefano Micali -- Zu den Autorinnen und Autoren /$rSonja Frohoff , Thomas Fuchs and Stefano Micali -- Farbtafeln /$rSonja Frohoff , Thomas Fuchs and Stefano Micali. 330 $aZwischen Kunst und Krankheit: Inspiriert durch Werke der berühmten Heidelberger Sammlung Prinzhorn diskutieren die Autoren phänomenologische Zugänge zu dieser Art von Kunst jenseits rein psychiatrischer oder kunsthistorischer Perspektiven. Seit Hans Prinzhorn mit der »Bildnerei der Geisteskranken« (1922) kulturkritisch für eine Neubewertung der »Irrenkunst« sorgte, gab die Sammlung Prinzhorn verschiedenen Disziplinen Anlass zu Debatten. Die Beiträge untersuchen Werke psychisch erkrankter Künstler aus phänomenologischer Perspektive und befragen die Grundlagen unserer Erfahrungen mit ihnen. Welche Welten transportieren sich durch scheinbar wahnhaft Unverständliches? Ermöglicht es das Werk, an einer anders erlebten Raum- und Zeiterfahrung Anteil zu nehmen? Wo hört das Verstehbare auf, fängt Wahnhaftes an? Mit Beiträgen von Rudolf Bernet, Gottfried Boehm, Sonja Frohoff, Thomas Fuchs, Stefan Kristensen, Marc Richir, Daniel Sollberger und Bernhard Waldenfels. 410 0$aÜbergänge ;$v66. 606 $aArt and mental illness$vCongresses 606 $aArt and mental illness 615 0$aArt and mental illness 615 0$aArt and mental illness. 676 $a616.89165 700 $aFuchs$b Thomas$f1964 November 12-$01550767 702 $aMicali$b Stefano 702 $aFrohoff$b Sonja 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910795294203321 996 $aBilderfahrung und Psychopathologie$93809875 997 $aUNINA