engleski

Poetic Theories of Classical Music Performance: Introduction, References and (Practical) Considerations

Classical music performance can be defined as a three-stage process. The preparatory phase is to master the work being performed. The second stage is the act of performance – performance itself – followed by the third stage in the form of reaction and consideration of performance. Classical music artist experiences are found in numerous interviews, autobiographies and music reviews, masterclass workshops and documentaries about individual artists. Based on the consideration and insight of music reproductive artists, it is possible to identify what performers are most preoccupied with and how they approach the challenges of a layered act of performance. Poetically formulated considerations form the basis for the formation of a system that, we may hold, can be considered as poetic theories of classical music performance. Similar examples are well known and classified in theatre studies ‒ theories of production as Josette Féral defines them. In other words, theoretical background of our concept ‒ poetic theories of classical music performance ‒ is emerging from theatre and performance studies principle: crossroads of theory and practise, abstractive and an embodied layer of performance. We are finding similar researches in the field of musical performance, published and edited by the eminent authors such as Nicholas Cook, Guerino Mazzola and John Rink. Beside references based on theoretical background, this presentation is supported by examples and references by authors such as pianists Arthur Rubinstein, Charles Rosen, Alfred Brendel, Stephen Hough, music journalist Tom Service and conductors Leonard Bernstein, Zubin Mehta, Collin Durrant and Mark Wigglesworth, to name but a few. It seems that the concept of poetic theories of classical music performance may be a bright spot in the field of science of art, in the time of post-postmodernism and contemporary scientific post-disciplines. Interpreting a musical performance from a performer's perspective joins the recent rethinking of music as a performance.

classical music, performance, poetic theories, pianism, conducting

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