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The "mirage" of the composer: a performer's musical decisions
Petrenko, Alexander
Petrenko, Alexander
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2012-04-18
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Conference paper
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Keywords
Music--Performance,Post-tonal music-- Performance practice,Music--Performance
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Citation
Alexander Petrenko. (2012). The "Mirage" of the Composer: A Performer's Musical Decisions. -- In Proceedings: 8th Annual Symposium: Graduate Research and Scholarly Projects. Wichita, KS: Wichita State University, p.40-41
Abstract
Up until recently, the Western art music tradition has privileged the composer as the best authority concerning issues of performance practice. This view was ingrained in the nineteenth century with European composers who sought complete control of their musical score. In the realm of Japanese contemporary music, the pieces do not conform to Western notions of cadence, phrasing or even harmonic structure. The performer furthermore has to make decisions which conflict with what the composer wrote. The piece MIRAGE for marimba (1971) by Yasuo Sueyoshi (b. 1937) will be discussed in the context of suitable methodologies to bring out the composer's ideas. The composer emerges as a 'mirage' blending with the performer in order to create the final work.
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Description
Paper presented to the 8th Annual Symposium on Graduate Research and Scholarly Projects (GRASP) held at the Marcus Welcome Center, Wichita State University, April 18, 2012.
Research completed at the Department of Music, College of Fine Arts
Research completed at the Department of Music, College of Fine Arts
Publisher
Wichita State University. Graduate School.
Journal
Book Title
Series
GRASP;
v.8;
v.8;