By Jeffrey Swinkin

How can the studio instructor train a lesson in an effort to instill sophisticated inventive sensibilities, ones usually concept to elude language? How can the utilized lesson be a kind of aesthetic schooling? How can instructing functionality be a creative recreation in its personal correct? those are a number of the questions Teaching Performance makes an attempt to respond to, drawing at the author's numerous a long time of expertise as a studio instructor and tune pupil.

The architects of absolute song (Hanslick, Schopenhauer, and others) held that it's accurately simply because instrumental track lacks language and therefore any overt connection to the non-musical international that it could disclose crucial components of that international. extra quite, for those philosophers, it's the density of musical structure—the problematic interaction between in simple terms musical elements—that permits track to seize the essences at the back of appearances. through analogy, the writer contends that the extra structurally complicated and aesthetically nuanced a pedagogical process is, the better its skill to light up track and facilitate musical talents. 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 tune, every one area works at the different. at the one hand, Romantic aesthetics offers pedagogy a resource of creative worth in its personal correct. nevertheless, pedagogy concretizes Romantic aesthetics, deflating its transcendental pretentions and displaying the dichotomy of absolute/utilitarian to be specious.

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Extra info for Teaching Performance: A Philosophy of Piano Pedagogy

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Here, the autonomy or self-sufficiency of music is inseparable from its intimation of non-musical discourse. Second, music, as a metaphor for the Kantian subject, explores and exploits its internal logical and formal relations often in response to an external, beautiful or sublime phenomenon, and is thus conditioned by its interaction with, and bears an indelible trace of, the external element it formally sublimates. Hence, in the above cases, music’s autonomous character is at one with its paramusical connections and resonances.

1976/1997. Music and the time screen. In Elliott Carter: Collected essays and lectures, 1937–1995, ed. Jonathan W. Bernard, 262–280. Rochester: University of Rochester Press. Cohn, Richard. 1992. The autonomy of motives in Schenkerian accounts of tonal music. Music Theory Spectrum 14 (2): 150–170. Cook, Nicholas. 1999. Words about music, or analysis versus performance. In Theory into practice: Composition, performance and the listening experience, eds. Nicholas Cook, Peter Johnson, and Hans Zender, 9–52.

The raison d’être of my study is to attempt to demonstrate how a pedagogical approach can happily accommodate both the most abstract of music-philosophical principles and the most concrete of teaching tactics; the latter are no less concrete for belonging to a unified structure. To elaborate, consider that, though all the levels in a Schenkerian hierarchy are related, there is no simple continuity from one to the next: a given level is not wholly transparent to the previous, but at least in some respects substantively alters or transforms it, introducing new ideas.

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