Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959

The investigation is based on the understanding of the role of the performer as narrator in theperformance of early nineteenth-century piano music in general and Schubert's Piano Sonata in AMajor, D959, in particular. In addition to considering aspects of the musical and cultural context as wel...

Full description

Saved in:

Bibliographic Details
Main Author:	Horng, Kent Tham
Format:	thesis
Language:	eng
Published:	2016
Subjects:	M Music and Books on Music
Online Access:	https://ir.upsi.edu.my/detailsg.php?det=5631
Tags:	Add Tag No Tags, Be the first to tag this record!

id	oai:ir.upsi.edu.my:5631
record_format	uketd_dc
institution	Universiti Pendidikan Sultan Idris
collection	UPSI Digital Repository
language	eng
topic	M Music and Books on Music
spellingShingle	M Music and Books on Music Horng, Kent Tham Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959
description	The investigation is based on the understanding of the role of the performer as narrator in theperformance of early nineteenth-century piano music in general and Schubert's Piano Sonata in AMajor, D959, in particular. In addition to considering aspects of the musical and cultural context as well as piano construction in Schubert's own time, this dissertationhighlights and examines two general areas. The first area contains three central themes- tempo, articulation and dynamics. The second area will shed light on a 'paradigm shift'between what Lawrence Zbikowski termed 'static form' and 'dynamic form'. The traditionalsonata-form represents the 'static form' which consists of balanced structure built fromregular sub-units with clear harmonic connections between each other. The 'dynamic form'was conceived as 'form as process' where the emphasis was given to a performer in definingthe musical structure throughout a piece. This creative role of a performer in giving shape tomusic suggests the idea of narration and Schubert's Piano Sonata in A Major, D959, particularly inthe first and second movements, presents an interesting example for musical narration in earlyRomantic music.There appears to be no consensus as to a 'stylistically correct' rendition ofSchubert's Piano Sonata in A Major, D959, and it possesses some unique musical featureswhich invite performers and researchers to conduct an investigation of the sonata.Hence, a consequence of this investigation would be a deeper understanding and awareness ofthe problems of interpretation in this work as well as the unique characteristics of the sonata.
format	thesis
qualification_name
qualification_level	Doctorate
author	Horng, Kent Tham
author_facet	Horng, Kent Tham
author_sort	Horng, Kent Tham
title	Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959
title_short	Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959
title_full	Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959
title_fullStr	Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959
title_full_unstemmed	Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959
title_sort	interpretation and performance:an investigation into franz scuberts piano sonata in a major d959
granting_institution	Universiti Pendidikan Sultan Idris
granting_department	Fakulti Muzik dan Seni Persembahan
publishDate	2016
url	https://ir.upsi.edu.my/detailsg.php?det=5631
_version_	1747833213716267008
spelling	oai:ir.upsi.edu.my:56312021-03-04 Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959 2016 Horng, Kent Tham M Music and Books on Music The investigation is based on the understanding of the role of the performer as narrator in theperformance of early nineteenth-century piano music in general and Schubert's Piano Sonata in AMajor, D959, in particular. In addition to considering aspects of the musical and cultural context as well as piano construction in Schubert's own time, this dissertationhighlights and examines two general areas. The first area contains three central themes- tempo, articulation and dynamics. The second area will shed light on a 'paradigm shift'between what Lawrence Zbikowski termed 'static form' and 'dynamic form'. The traditionalsonata-form represents the 'static form' which consists of balanced structure built fromregular sub-units with clear harmonic connections between each other. The 'dynamic form'was conceived as 'form as process' where the emphasis was given to a performer in definingthe musical structure throughout a piece. This creative role of a performer in giving shape tomusic suggests the idea of narration and Schubert's Piano Sonata in A Major, D959, particularly inthe first and second movements, presents an interesting example for musical narration in earlyRomantic music.There appears to be no consensus as to a 'stylistically correct' rendition ofSchubert's Piano Sonata in A Major, D959, and it possesses some unique musical featureswhich invite performers and researchers to conduct an investigation of the sonata.Hence, a consequence of this investigation would be a deeper understanding and awareness ofthe problems of interpretation in this work as well as the unique characteristics of the sonata. 2016 thesis https://ir.upsi.edu.my/detailsg.php?det=5631 https://ir.upsi.edu.my/detailsg.php?det=5631 text eng closedAccess Doctoral Universiti Pendidikan Sultan Idris Fakulti Muzik dan Seni Persembahan Abraham, G., The New Oxford History of Music: The Age of Beethoven 1790-1830(London: Oxford University Press, 1958)Adorno, T., 'Late Style in Beethoven', in Leppert, R. (ed.), Essays on Music (Berkeley:University of California Press, 2002), 564-568Agawu, K., Music as Discourse: Semiotic Adventures in Romantic Music (Oxford: OxfordUniversity Press, 2009)Almen, B., A Theory of Musical Narrative (Bloomington: Indiana University Press,2008)Badura-Skoda, E. & Badura-Skoda, P., Interpreting Mozart: The Performance of His PianoPieces and Other Compositions (London: Routledge, 2010)Barone, A., 'Richard Wagner's 'Parsifal' and the Theory of Late Style', Cambridge OperaJournal, 7 (1995), 37-54Barry, B., 'A Shouting Silence: Further Thoughts about Schubert's 'Unfinished", TheMusical Times, 151 (2010), 39-52Barry, B., 'Schubert's Quartettsatz: a case study in confrontation', The Musical Times,155 (2014), 31-49Bauernfeld, E. V., Erinnerungen aus Alt Wien (Vienna, 1923), 371; quoted in LeonBotstein, 'Realism Transformed: Franz Schubert and Vienna', in Christopher H. Gibbs (ed.), The Cambridge Companion to Schubert (Cambridge: Cambridge University Press,1997), 15-35Benson, B. E., The Improvisation of Musical Dialogue: A Phenomenology of Music(Cambridge: Cambridge University Press, 2003)Berge, P. (ed.), Beethoven's Tempest Sonata: Perspectives ofAnalysis and Performance(Leuven: Peeters, 2009)Bilson, M., 'The Future of Schubert Interpretation: What Is Really Needed?', EarlyMusic, 25 (1997), 715-722Bilson, M., 'Schubert's Piano Music and the pianos of His Time', Studia MusicologicaAcademiae Scientiarum Hungaricae, 22 (1980), 263-271Bishop, J. (ed.), Carl Czerny: School of Practical Composition, Complete Treatise on theComposition of all kinds of music. Both Instrumental and Vocal Together with aTreatise on Instrumentation Opus 600 (New York: Da Capo Press, 1979)Boorman, S., 'The Musical Text', in Nicholas Cook and Mark Everist (eds.), RethinkingMusic (Oxford: Oxford University Press, 2001), 403-423Brendel, A., Alfred Brendel on Music: His Collected Essays (London: JR Books, 2007)Brown, H. M., 'Pedantry or Liberation? A Sketch of the Historical PerformanceMovement', in Kenyon, N. (ed.), Authenticity and Early Music (Oxford: OxfordUniversity Press, 1988),27-56Burton, A. (ed.), A Performance Guide to Music of the Classical Period (London: TheAssociated Board of the Royal Schools of Music, 2002)Butt, J., Playing with History: The Historical Approach to Musical Performance(Cambridge: Cambridge University Press, 2002)Carew, D., The Mechanical Muse: The Piano, Pianists and Piano Music, c.1760-J850(Aldershot: Ashgate Publishing Limited, 2007)Clark, S., Analyzing Schubert (Cambridge: Cambridge University Press, 2011)Cone, E. T., Musical Form and Musical Performance (New York: W. W. Norton & Co.,1968)Cone, E. T., The Composer's Voice (California: University of California Press, 1974)Cook, N., Beyond the Score: Music as Performance (Oxford: Oxford University Press,2013)Cook, N. and Everist, M. (eds), Rethinking Music (Oxford: Oxford University Press,2001)Cooper, M., Beethoven: The Last Decade, 1817-1827 (Oxford: Oxford University Press,1970)Dahlhaus, C., Nineteenth-Century Music (California: University of California Press,1989)Dahlhaus, C., 'Sonata Form in Schubert: The First Movement of the G-Major StringQuartet, op.161 (D.887)', in Frisch, W. (ed.), Schubert: Critical and AnalyticalStudies (Lincoln: University of Nebraska Press, 1986), 1-12Dogantan-Dack, M., 'Phrasing - the Very Life of Music: Performing the Music andNineteenth-Century Performance Theory', Nineteenth-Century Music Review, 9(2012), 7-30Dolmetsch, A., The Interpretation of Music of the Seventeenth and Eighteenth Centuries(London: Novello and Company, 1915)Eisen, C., 'Notation and Interpretation', in Burton, A. (ed.), A Performer's Guide toMusic of the Classical Period (London: The Associated Board of the Royal Schoolof Music, 2007), 15-38Epstein, J. (ed.), Franz Schubert: Complete Works, Breitkopf & Hartel Critical Edition of1884-1897 Volume 5 (New York: Dover Publications, 1965)Fisk, C., Returning Cycles: Contexts for the Interpretation ofSchubert's Impromptus andLast Sonatas (California: University of California Press, 2001)Frisch, W. (ed.), Schubert: Critical and Analytical Studies (Lincoln: University ofNebraska Press, 1986)Gibbs, C. H. (ed.), The Cambridge Companion to Schubert (Cambridge: CambridgeUniversity Press, 1997)Gibbs, C. H., 'German reception: Schubert's "journey to immortality" " in ChristopherH. Gibbs (ed.), The Cambridge Companion to Schubert (Cambridge: CambridgeUniversity Press, 1997), 241-253Gingerich, J. M., Schubert's Beethoven Project (Cambridge: Cambridge University Press,2014)Hanson, A. M., Musical Life in Biedermeier Vienna (Cambridge: Cambridge UniversityPress, 1985)Hatten, R. S., Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven,Schubert (Bloomington: Indiana University Press, 2004)Hepokoski, J. & Darcy, W., Elements ofSonata Theory: Norms, Types, and Deformationsin the Late-Eighteenth-Century Sonata (Oxford: Oxford University Press, 2011)Hopkins, A., Talking about Sonatas (London: Heinemann, 1971)Horton, J., 'Stasis and Continuity in Schubert's String Quintet: Responses to NathanMartin, Steven Vande Moorteie, Scott Burnham and John Kosiovsky', MusicAnalysis, 33 (2014), 194-213Howat, R., 'Architecture as drama in late Schubert', in Brian Newbould (ed.), SchubertStudies (Aldershot: Ashgate Publishing Limited, 1998), 166-190Irving, J., 'The Invention of Tradition', in Samson, J. (ed.), The Cambridge History ofNineteenth-Century Music (Cambridge: Cambridge University Press, 2002), 178-212Jones, M. J., 'New Perspectives on Music, Disability and Illness', Journal of the RoyalMusical Association, 139 (2014), 421-430Kenyon, N. (ed.), Authenticity and Early Music (Oxford: Oxford University Press, 1988)Kenyon, N., 'Authenticity and Early Music: Some Issues and Questions', in Kenyon, N.,Authenticity and Early Music (Oxford: Oxford University Press, 1988), 1-18Kinderman, W., 'Schubert's Piano Music: Probing the Human Condition', in Gibbs, C.H. (ed.), The Cambridge Companion to Schubert (Cambridge: CambridgeUniversity Press, 1997), 155-173Kramer, L., Music as Cultural Practice, 1800 - 1900 (London: University of CaliforniaPress, 1990)Latcham, M., 'The Check in Some Early Pianos and the Development of PianoTechnique around the Tum of the 18th Century', Early Music, 21 (1993),28-42Lawson, C. and Stowell, R., The Historical Performance of Music: An Introduction(Cambridge: Cambridge University Press, 1999)Lawson, C. and Stowell, R. (eds), The Cambridge History of Musical Performance(Cambridge: Cambridge University Press, 2012)Leppert, R. (ed.), Essays on Music (Berkeley: University of California Press, 2002)Levin, R. D., 'Performance Prerogatives in Schubert', Early Music, 25 (1997), 723-727Litschauer, W. (ed.), Franz Schubert: Neue Ausgabe sdmtlicher Werke, Werke furKlavier zu zwei Hdnden Band 3 Klaviersonaten (Kassel: Barenreiter-Verlag, 1996)Mak, S. Y., 'Schubert's Sonata Form and the Poetics of the Lyric', The Journal ofMusicology, 23 (2006), 263-306Marshman, A. (ed.), Performers' Voices Across Centuries and Cultures (London:Imperial College Press, 2012)Marston, N., 'Schubert's Homecoming', Journal of the Royal Musical Association, 125(2000), 248-270McClary, S., 'Narrative Agendas in "Absolute" Music: Identity and Difference inBrahms's Third Symphony', in McClary, S., Reading Music: Selected Essays(Aldershot: Ashgate Publishing Limited, 2007), 65-83Mitchell, J. M. (trans. and ed.), Carl Philipp Emanuel Bach: Essay on the True Art ofPlaying Keyboard Instruments (London: Ernst Eulenburg Ltd., 1974)Montgomery, D., Franz Schubert's Music in Performance: Compositional Ideals,Notational Intent, Historical Realities, Pedagogical Foundations (New York:Pendragon Press, 2003)Montgomery, D., 'Franz Schubert's music in performance: a brief history of people,events, and issues', in Christopher H. Gibbs (ed.), The Cambridge Companion toSchubert (Cambridge: Cambridge University Press, 1997), 270-283Montgomery, D., 'Modern Schubert Interpretation in the Light of the PedagogicalSources of His Day', Early Music, 25 (1997), 100-118Newbould, B. (ed.), Schubert Studies (Aldershot: Ashgate Publishing Limited, 1998)Newbould, B. (ed.), Schubert the Progressive: History, Performance Practice, Analysis(Aldershot: Ashgate Publishing Limited, 2003)Newman, W. S., The Sonata Since Beethoven (Chapel Hill: The University of NorthCalifornia Press, 1969)Pace, I., 'Instrumental performance in the nineteenth century', in Lawson, C. andStowell, R. (eds.), The Cambridge History of Musical Performance (Cambridge:Cambridge University Press, 2012), 643-695Platinga, L., Romantic Music: A History of Musical Style in Nineteenth-Century Europe(London: W. W. Norton & Co., 1984)Pleasants, H. (trans. and ed.), Schumann on Music: A Selection from the Writings (NewYork: Dover Publications, 1965)Po Ii, R., The Secret ofMusical Notation (Milwaukee: Amadeus Press, 2010)Reed, J., Schubert: The Final Years (London: Faber and Faber Limited, 1972)Reul, B. M. and Byrne Bodley, L. (eds), The Unknown Schubert (Hampshire: AshgatePublishing Limited, 2008)Rink, J. (ed.), Musical Performance: A Guide to Understanding (Cambridge: CambridgeUniversity Press, 2002)Rink, J., 'The (F)utility of Performance Analysis', in Dogantan-Dack, M. (ed.), ArtisticPractice as Research in Music: Theory, Criticism, Practice (Surrey: AshgatePublishing Limited, 2015), 127-148Rink, J. (ed.), The Practice of Performance: Studies in Musical Interpretation(Cambridge: Cambridge University Press, 1995)Rink, J., 'Translating Musical Meaning: The Nineteenth-Century Performer as Narrator',in Cook, N. and Everist, M. (eds.), Rethinking Music (Oxford: Oxford UniversityPress, 2001), 217-238Rosen, C., 'Schubert and the Example of Mozart', in Newbould, B. (ed.), Schubert theProgressive: History, Performance Practice, Analysis (Aldershot: AshgatePublishing Limited, 2003), 1-20Rosen, C., 'Schubert's inflections of Classical form', in Gibbs, C. H. (ed.), TheCambridge Companion to Schubert (Cambridge: Cambridge University Press,1997), 72-98Rosen, C., Sonata Forms (London: W. W. Norton & Co., 1980)Rosen, C., The Classical Style: Haydn, Mozart, Beethoven (London: Faber and FaberLimited, 1997)Rowland, D., 'Pianos and pianists c.I770-c.1825', in Rowland, D. (ed.), The CambridgeCompanion to the Piano (Cambridge: Cambridge University Press, 1998), 22-39Rowland, D. (ed.), The Cambridge Companion to the Piano (Cambridge: CambridgeUniversity Press, 1998)Samson, J. (ed.), The Cambridge History of Nineteenth-Century Music (Cambridge:Cambridge University Press, 2002)Samson, J., Virtuosity and the Musical Work: The Transcendental Studies of Liszt(Cambridge: Cambridge University Press, 2003)Schiff, A., 'Schubert's Piano Sonatas: Thoughts about Interpretation and Performance',in Newbould, B. (ed.), Schubert Studies (Aldershot: Ashgate Publishing Limited,1998), 191-208Schmalfeldt, J., In the Process of Becoming: Analytical and Philosophical Perspectiveson Form in Early Nineteenth-Century Music (Oxford: Oxford University Press,2011)Schmidt-Beste, T., Cambridge Introductions to Music: The Sonata (Cambridge:Cambridge University Press, 2011)Seaton, D., 'Narrativity and the Performance of Beethoven's Tempest Sonata', in Berge,P. (ed.), Beethoven's Tempest Sonata: Perspectives of Analysis and Performance(Leuven: Peeters, 2009), 273-292Straus, J. N., 'Disability and "Late Style" in Music', The Journal of Musicology, 25(2008), 3-45Straus, J. N., Extraordinary Measures: Disability in Music (Oxford: Oxford UniversityPress, 2011)Taruskin, R., Text and Act: Essays on Music and Performance (Oxford: OxfordUniversity Press, 1995)Taruskin, R., The Oxford History of Western Music, Volume 3, Nineteenth Century(Oxford: Oxford University Press, 2005)Taruskin, R., 'Where Things Stand Now', in Marshman, A. (ed.), Performers' VoicesAcross Centuries and Cultures (London: Imperial College Press, 2012), 1-26Tirimo, M. (ed.), Franz Schubert: The Complete Piano Sonatas Volume III (Vienna:Wiener Urtext Edition, 1999)Todd, R. L., Nineteenth-Century Piano Music (London: Routledge, 2004)Walls, P., 'Historical performance and the modem performer', in Rink, J. (ed.), MusicalPerformance: A Guide to Understanding (Cambridge: Cambridge University Press,2002), 17-34Walter Frisch (ed.), Schubert: Critical and Analytical Studies (Lincoln: University ofNebraska Press, 1986)Ward, D., 'Keyboard', in Burton, A. (ed.), A Performer's Guide to Music of the ClassicalPeriod (London: The Associated Board of the Royal Schools of Music, 2007), 39-50Webster, J., 'Schubert's Sonata Form and Brahms' First Maturity', 19th-Century Music,2 (1978), 18-35Wischusen, M., 'Franz Schubert and Viennese Popular Comedy', in Reul, B. M. andByrne Bodley, L. (eds.), The Unknown Schubert (Hampshire: Ashgate PublishingLimited, 2008), 83-98Wollenberg, S., Schubert's Fingerprints: Studies in the Instrumental Works (Surrey:Ashgate Publishing Limited, 2011)Zbikowski, L. M., Conceptualizing Music: Cognitive Structure, Theory and Analysis(Oxford: Oxford University Press, 2002)

Interpretation and performance:An investigation into Franz Scuberts Piano Sonata in A Major D959

Similar Items