Performing Music
“The etymological affiliations of ‘perform’ lie with the old French perfournir, ‘to furnish or supply.’ And performers, indeed, furnish music, bring it to consciousness, in a profound sense bring it into being,” (Plantinga 279). As an aural art, music only ‘lives’ when it is heard. It has as many incarnations as performers and performances, each one distinctly different. A responsible performer must intimately understand each piece he will perform, not only the notes on the page, but its historical background. Several things must be understood before one can perform a piece successfully. First, a performer must analyze the piece, determine its form and harmonic structure. Second, the performer must understand the historical context of the piece. While performers debate the necessity of recreating an historically accurate performance, most agree that understanding a composers intentions for a piece aids in its performance. When these elements are combined with the performers own musical voice, a truly inspiring performance can result. A performer must analyze a piece before performing it. Besides aiding in memorization, the analysis will give the performer direction. By identifying
Some topics in this essay:
Sonata Beethoven, Performing Music, Piano Concerto, Previous Op, Beethoven’s Op, Appassionata Beethoven, Analysis Historical, op 37, historical background, harmonic structure, stylistic period, performer analyze piece, nineteenth century music, historical background information, historically accurate performance, historically accurate, analyze piece, expressive capabilities, accurate performance, form harmonic, form harmonic structure, home key,
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Approximate Word count = 1249
Approximate Pages = 5 (250 words per page double spaced)
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