By Jeffrey Swinkin
How can the studio instructor train a lesson which will instill subtle creative sensibilities, ones frequently inspiration to elude language? How can the utilized lesson be a sort of aesthetic schooling? How can educating functionality be a creative exercise in its personal correct? those are a few of the questions Teaching Performance makes an attempt to reply to, drawing at the author's a number of many years of expertise as a studio instructor and song pupil.
The architects of absolute song (Hanslick, Schopenhauer, and others) held that it really is accurately simply because instrumental track lacks language and hence any overt connection to the non-musical global that it can reveal crucial components of that global. extra fairly, for those philosophers, it's the density of musical structure—the elaborate interaction between merely musical elements—that permits song to trap the essences in the back of appearances. via analogy, the writer contends that the extra structurally complicated and aesthetically nuanced a pedagogical process is, the larger its skill to light up song and facilitate musical abilities. the writer phrases this phenomenon relational autonomy. 8 chapters spread a piano-pedagogical procedure pivoting at the precept of relational autonomy. In grounding piano pedagogy within the aesthetics of absolute song, each one area works at the different. at the one hand, Romantic aesthetics presents pedagogy a resource of inventive worth in its personal correct. however, pedagogy concretizes Romantic aesthetics, deflating its transcendental pretentions and exhibiting the dichotomy of absolute/utilitarian to be specious.
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Extra info for Teaching Performance: A Philosophy of Piano Pedagogy
25). For another example, Johann Sulzer, while condoning mimesis and the evocation of affects (in all of the fine arts, including music), deems it necessary that these arts capture not merely the sensuous form of a phenomenon but also its inner essence. Correlatively, he eschewed artistic perception weighed too heavily toward the sensory; rather, the perceiver need also register her own inner sense of the artwork, “where attention is directed from the object itself to what the soul is feeling….
Sullivan (1927) contends that what distinguished Beethoven from all other composers, even from his venerable contemporaries, Mozart and Haydn, was not primarily his pure compositional skill but the depth of his experience, the significance of what he had to express. , 47), which led to a state of heightened consciousness by which he was able to seize upon many essential and universal elements of humanity; he was then able to express such insights musically by employing his formidable compositional skills.
Pdf. Accessed 29 Sept 2009. Matthay, Tobias. 1913. Musical interpretation: Its laws and principles, and their application in teaching and performing. Boston: Boston Music Company. Neubauer, John. 1986. The emancipation of music from language: Departure from mimesis in eighteenth-century aesthetics. New Haven: Yale University Press. Pankhurst, Tom. 2008. SchenkerGuide: A brief handbook and website for Schenkerian analysis. New York: Routledge. Reimer, Bennett. 1989. A philosophy of music education.
Teaching Performance: A Philosophy of Piano Pedagogy by Jeffrey Swinkin