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Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas

Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas This is an analytical study on metrical structure in Chopin's Mazurka op. 17/4 (complete) and excerpts from his Mazurkas opp. 59/2 and 63/3, and on the effects of expressive details in Paderewski's recordings upon that structure. The methodology is based mainly on Harald Krebs's theory of metrical dissonance but is also informed by William Caplin's theory of formal functions, by Robert Philip's categorization scheme for tempo rubato in early recordings, and by research in meter perception and empirical performance analysis. Several addenda to Krebs's taxonomy of metrical consonance and dissonance are proposed, including a distinction between two types of intensification processes (graduated and terraced). Paderewski's performance practices are shown to greatly enhance (or even to introduce) intensification processes that span entire phrases or sections, and to highlight the arrival of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Metrical Dissonance and Directed Motion in Paderewski's Recordings of Chopin's Mazurkas

Journal of Music Theory , Volume 53 (1) – Mar 1, 2009

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Publisher
Duke University Press
Copyright
Duke University Press
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-2009-021
Publisher site
See Article on Publisher Site

Abstract

This is an analytical study on metrical structure in Chopin's Mazurka op. 17/4 (complete) and excerpts from his Mazurkas opp. 59/2 and 63/3, and on the effects of expressive details in Paderewski's recordings upon that structure. The methodology is based mainly on Harald Krebs's theory of metrical dissonance but is also informed by William Caplin's theory of formal functions, by Robert Philip's categorization scheme for tempo rubato in early recordings, and by research in meter perception and empirical performance analysis. Several addenda to Krebs's taxonomy of metrical consonance and dissonance are proposed, including a distinction between two types of intensification processes (graduated and terraced). Paderewski's performance practices are shown to greatly enhance (or even to introduce) intensification processes that span entire phrases or sections, and to highlight the arrival of events of long-range structural importance such as cadences that provide tonal and formal closure at the deepest level.

Journal

Journal of Music TheoryDuke University Press

Published: Mar 1, 2009

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