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The following handle holds various files of this Leiden University dissertation: http://hdl.handle.net/1887/59504 Author: Vanmaele, J. Title: The informed performer : towards a bio-culturally informed performers’ practice Issue Date: 2017-12-20

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Chapter13: Feelingthescore–towardsanInteractionalandBio-topicalPerformativeAnalysis

InWestern ArtMusic, the preservation ofmusic across centuries is accomplishedmainly through

notation.Thescoreisaskeletonofmusicalthoughtwhichisrevivedintoanexperienceaffordingsonic

(andvisual)environmentbymeansofaperformer.Bringinganotatedstructure to life isacentral

concerninmusicalpracticeandinvolvesanactofembodiedrealisationandvaryingdegreesofcreative

assessmentandinterpretation.Suchperformativemediationleadstomicrostructuraladaptationsor

(re-)constructions in terms of parameters such as rhythmic grouping, melodic grouping, metric

accents,tempo,dynamics,timing,durationandarticulation,andengagesvariouslevelsofconscious,

intuitiveorhabitualinvolvement.

Ontheintentionallevelandinsystematicterms,theprimarydistinctionbetweenperformativeand

hermeneuticorcriticalinterpretationhasalreadybeenintroducedinChapter2:criticalinterpretation

“ascribes,explains,andrelates,aimingtoprovideanaccountofawork’simportandfunctioning,both

localandglobal”(Levinson,1993,p.34),whereasperformativeinterpretationis“aconsideredwayof

playingapieceofmusicinvolvinghighlyspecificdeterminationsofallthedefiningfeaturesofthepiece

asgivenbythescoreanditsassociatedconventionsofreading”(Levinson,1993,p.36).

A tool that is generally called into support of either of these two interpretativemodes ismusical

analysis; in this chapter, the focus is on exploring the possibility of devising an experience- and

practice-proofapparatusforcreativeperformativemusicalanalysisasviewedfromthetenetsofaBio-

Culturally informed Performers’ Practice (see 10.3). The most characteristic element of such an

approach is that an analytical focus on interactive and transactional affordances occasions a shift

wherenolongerthescore,butthebody,astheprimarycauseofthemusicalenvironmentandasan

amplifierofacodedsonicenvironment,becomestheprimeintentionalobjectofanalysis.

Toarriveatsuchananalyticalframework,firstly,thestateofthefieldwillbeassessed,followedbya

punctualpresentationofsevenselectedInformationUnitsthatpertaintotheBCiPPattractor-domain

of‘interaction’.TherecontextualisationoftheseIUsinthefieldofperformanceandaproposalfor

reproducingthemviaapracticaltoolprecedethechapter-closewhichpresentsanInteractionaland

Bio-topicalPerformativeAnalysisandrenditionofChopin’sMazurkaop.67nr.4.

13.1 Areservoirofanalyticaltools

Performativeanalysisofsomekindisanintricatepartofeverymusician’spersonaltheory.Musicians

intheearlystagesofstudy,havingnoadvancedtheoreticalunderstandingofmusic,relyonvisual,

motorandauralmemorywhenassimilatingnewpiecesbutalsoestablishprimitiveandpracticalproto-

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conceptual landmarks in larger-scale compositions; these structural elements relate to a personal

assessmentoftheaffectivedevelopmentofthecomposition,themainstructuralsections,thevisual

presentationofthescore,ormorepunctualtechnicalelementssuchasparticularhandpositionsor

tessiture-relatedaspects(highestnote,lowestnote).Nexttoindividualstrategies,thecommunication

betweenteacherandstudentsoonstartstoinvolveelementsofproto-analysiswhenaparticularpiece

isdiscussedintermsofitsexpressivepotential.Often,thesecommunicationsimplyapersonalsetof

habitually encountered affective states (e.g. dreamy, happy, sad), events (e.g. wedding, royal

crowning, funeral) or imaginativemetaphorswhich refer to environmental factors (e.g. fountains,

rivers,woods).

Froma functional perspective, theseprimitive types of performativemusical analysis are not only

instrumentalinlearningandmemorizingnewpieces,orindevelopingstyle-awarenessviacomparative

analysis,theyalsoprovideguidanceduringtheactofperformance;theyallowforthepreventionof

chokingandfacilitateanattention-managementthatfocusesonwhatisgoingoninthemusic(external

focus)ratherthatoninternalthoughts(self-monitoring–internalfocus)(Beilock&Carr,2001;Green

&Gallwey,1987).However,andnexttothesepracticalroles,theultimateambitionofanalysiswould

beitscontributiontoperformativeimaginationandcreativity:analysisshouldprovideanopportunity

toapproachthescorefromanunexpectedangleandtochallengehabitualinferencesandintuitions,

andleadthemintonovelconfigurations.Thisfunctionality isakintotheroleofexperimentationin

physics:viatheinstrumentsofsciencenaturalphenomenatransformintoscientificphenomenawhich

canthenbefurtherstudiedandrelated.

This latter functionality openspossibilities for a linkwith the field ofmusic theory, aesthetics and

critical analysiswhich is a vast anddifferentiated terrain but converges around the central aimof

discovering(orimposing)andclassifyingstructureandintrinsicrelationsinamusicalwork.Withinthat

generalfieldofenquiry,eachformofanalysisdevelopsspecialisedtoolsthattargetspecificmusical

parameters(pitch,melody,rhythm,harmony)orlargescaledevelopmentswithinacomposition(form,

narrative,motives,themes)(Cook,1987,p.9).

Therelationbetweenanalysisandperformanceisalong-standingissueofdebateandthepositions

range from perspectives that advocate analytically informed performances over performatively

informedanalysestoperspectivesthatshunanalysisinthecontextofperformancealtogether(Hatten,

2010).Thefirstvariantisaratherprescriptiveapproachthatentailsaconceptionoftheworkasideal

objectthatmustbepreciselymanifestedinall itsstructurebyasubservientperformerwhomerely

realizesitsdesignsinsound.MusictheoristWallaceBerryadvocatesthisone-sidedperspectiveinhis

1989textbook,MusicalStructureandPerformance(Berry,1989).Theprogrammeofperformatively

informedanalysesconsidersthescoreasatextorascriptasopposedtoananalyticallyfixedwork.

Within this context, new gestural synthesesmay be discovered that engage the performer’s best

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instinctsforphrasingaswellastheanalyst’shierarchicalanalysisofcompositionalunitsorsegments.

Examples of such negotiations can be found in the cooperating venture between music theorist

DaphneLeongandflutistElizabethMcNutt (Leong&McNutt,2005)and intheperformancebased

mappings that pianist Alessandro Cervino presents in his doctoral dissertation Mapping the

Performer’sCreativeSpace:anexplorationinandthroughpianoplaying(Cervino,2012).Thethirdand

mostcriticalvoice in thedebateon therelationbetweenanalysisandperformance ismostclearly

represented by musicologist Carolyn Abbate and music educator Christopher Small. Abbate has

criticizedhermeneuticandevenperformativeapproachesasbeingalltoognosticintheirpursuitof

hiddenandmetaphysicalmeanings.391Inplaceofthesestudiedandsymbolicabstractionsthataimat

makingtheopaquetransparent,shenotesthatactualperformanceforegroundselementsofamore

drasticandphysicalnatureinvolvingacategoryofknowledgethatflowsfromactionsorexperiences

andnotfromverballymediatedreasoning(Abbate,2004).Musicisnotsomethingtobesaid,butto

beplayed(Jankélévitch,1961/2003,p.xvi).InthesameveinSmallhasarguedagainstthefocusinthe

Westernclassicaltraditiononmusicalworksandtherelegationofperformancetoasubordinatestatus

which,accordingtoSmall,hashadanimpoverishingeffectonmusicalexperience.Heconcludesquite

provocativelythat“performancedoesnotexistinordertopresentmusicalworks,butrathermusical

worksexistinordertogiveperformerssomethingtoperform”(Small,1998,p.8).Withthisstatement,

Smalladherestoabio-culturalapproachtomusicwhereaperformerisconsideredtobethefirstcause

ofcreatinganenvironmentandwherethespecificsituationofWesternArtMusicwithitsdifferential

rolesattributedtoperformerandcomposerareconsideredtobebutaculturalparticularisationofa

dyadic and interactional relation between art-maker and the art-experiencer. Such a perspective,

however,doesnoterasetherealityofscore-basedperformancewhereacodedscriptisanessential

elementoftheparticularsituation;anelementthatneedstobeadequatelyapproachedinfunctionof

amusicalexperience.

Within all these orientations a persistent challenge presents itselfwith regard to the relevance of

systematic analytical work to performance. Attempts to close the gap between performance and

analysisincludeHeinrichSchenker’sthinkingwheremusicisconsideredasaclassofhumanexperience

withasitsmostfundamentallayerasenseofdirectedmotiontowardsanending-point.Byanalytically

stripping away inessentials such as surface form and claiming access to primary elements of

experience, Schenker comes close to amodus operandi akin to the process of phenomenological

reduction(Cook,1987,p.67).Likewiserelatedtothisurgeforgeneralandexperience-basedprinciples

are thepsychologicalapproaches toanalysis thatarisemostprominently in thesecondhalfof the

twentieth century (Cook, 1987, pp. 67–115). In Emotion and Meaning in Music (Meyer, 1956),

391TheoppositionbetweendrasticandgnosticisborrowedfromJankélévitch(1961/2003).

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composerandphilosopherLeonardMeyercombinesGestaltTheory392andpragmatic,consequentialist

theories to come to an understanding of emotion and meaning in music as resulting from the

frustrationofexpectations.ThisleadsMeyertoanalysecompositionsintermsoflistenerexpectations

atanygivenpointinapieceofmusic,andcomparingthesetotheactualrealisation.Hisworkgoeson

toinfluencetheoristsbothinandoutsidemusic,aswellasprovidingabasisforcognitivepsychology

researchintomusicandourresponsestoit(Narmour,1977,1990;Huron,2006).

Adoptingamacro-perspectiveonanalyticalefforts inscore-basedmusicperformance,at least four

intentionalobjectscanbediscernedthathaveenjoyedextra-disciplinaryinterestandenquiryinterms

ofanalysis.

1. Thescoreasadescriptive(howshoulditsound?),prescriptive(whatshouldaperformerdo?)

andexpressive(whatwasthecomposer’sintention/idea?)symbolhasbeenthemainfocusof

analyicalattention.Thisdomainislargelycoveredbyasub-fieldofmusicology:musictheory.

2. Thelistener’sreceptiveexperiencepertainstothedomainofaesthetics,musicpsychology,and

musiccriticism.

3. Theperformer’sgesturesbothfromareceptiveandagenerativepointofviewareanobject

ofanalysismainlyinthefieldofpsychology(Davidson1993,1995,2001).

4. Thesoundofmusicasanexpressiveactualisationofthescorehasbeenamorerecentfocus

of attention and comparative analysis in music psychology and in projects such as AHRC

Research Centre for the History and Analysis of Recorded Music [CHARM] and the AHRC

ResearchCentreforMusicalPerformanceasCreativePractice[CMPCP].

It is safe to say that, although efforts have been made to stimulate a rapprochement between

systematic analytical theory and performers’ concerns393, the outcomeof these initiatives has not

resulted(yet)inaself-evidentexchangeofideasbetweenthefieldsofsystematicmusicalanalysisin

musical practice. Schenkerian analysis and psychology-based analytical approaches have barely

reachedperformancecurricula(certainlynotintheEuropeancontext)andmostmusicians’analytical

repertoirestillconsistsofproto-analyticaltools(deep-learning,keenobservation,intuition,metaphor)

392GestaltPsychologyisaschoolofthoughtinpsychologyoriginatingintheearly20thcenturythatfocusedonperceptionandemphasizedtheorganizationofexperienceintowholesthatweremorethanthesumsoftheirparts.393InstitutionalinitiativessuchastheOrpheusAcademiesforMusicandTheoryanditssubsequentpublications(Agsteribbe&Dejans,1999;Beelaert,Dejans,&Snyers,2007;Crispin,2009,2012;Moelants,2010,2014;Brooks,2014)aswellasapublicationssuchasBeethoven'sTempestSonata(firstmovement):fiveannotatedanalysesforperformersandscholars(Bergé,D’Hoe,Caplin,&Beethoven,2012)allattesttoanawarenessofthischallengeandanappreciationofthepotentialthatliesinaninformativerelationbetweenanalyticaltheoryandpractice.

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complementedwithessentialmusic-theoreticalunderstandingsaboutform(e.g.sonata-form, lied),

chord-progressionsandcounterpoint.

Theprojectofdevisingabio-culturallyinformedtoolformusicalanalysiscanbesituatedwithinthe

context of filling the gap between abstract analysis and performative functionality. Within the

frameworkofBCiPP,analysisisconsideredasatoolforfacilitatingandopeningpossibilitieswithregard

totheinteractionalpotentialthatacompositionholdsasanintentionallycreatedsonicenvironment.

Inthetopicalattractor-modelpresentedinChapter11,fivecategorieswereproposedthat‘attract’

informationaboutexperience-enablingelements.Inthischapter,thesecategories–perception,affect

regulation/attunement,expression,jointattention/sharedintentionality,mimesisanddiegesis–will

befurtherexploredfortheirgenerativepotentialinfunctionofaninteraction-andexperience-based

deviceforperformativeanalysis.

13.2 IntroducingInformationUnitsfromthedomainofmusicalinteraction

The volume of extra-disciplinary information that is available to feed the domain of performative

analysisisconsiderable.Below,sevenunitsofinformationhavebeenselectedfromamoreextended

database(seeAppendix13)onthebasisoftheirpotentialinformationalimpact.Theyarepunctually

andinformationallypresentedintheirownjus,namelyfromtheperspectiveoftheirsource-domains.

AdiscussionoftheIUsinfunctionofarecontextualizatoninthecontextofperformativeanalysisis

providedafterwards,insection13.3.

13.2.1 IU1:Expressivecultureandthetwo-streamhypothesis–cognitivescience

InBeethoven’sAnvil:MusicinMindandCulture(Benzon,2008),cognitivescientistandjazzmusician

William Benzon regardsmusic as embodying two simultaneous streams: one stream is the cyclic,

repetitive and groove stream, the other the evolving, phrasing and gestural stream which is

underpinnedthebiologicallygivenpatternsbywhichweexpressandcommunicateemotion(seealso

Clynes,1995,pp.279–280;Clynes,1977).

In a series of publications (Benzon, 1993, 2008; Benzon&Hays, 2006) that aim at identifying the

characteristics of expressive culture394, Benzon maintains that these fundamental streams are

differentially represented in three ranks of cultures; in this specific context of expressive cultures,

Benzonaddsathirdstreamwhichrelatestothearchitectonicsofmusicviaharmony.

394Justasculturalevolutionhasgivenhumansevermoresophisticatedconceptualtoolstoreasonwith,soithasgivenusevermoreelaborateandcoherentexpressivetoolsthatengagewithfeelingofourselvesandtheworld (Benzon, 1993, pp. 273–274). Unlike cognitive culture that advances though inventing ever moresophisticatedconceptualtoolsforabstraction,theworksofexpressiveculturearealwaysembeddedinsomemediumthatismanipulatedandcontinuouslydevelopedinordertoelaborateandcontrolourinnerexperience(Benzon,1993,pp.275–276).

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Rank1culturesdominatedaperiodthatstretchesfromtheemergenceofhumanlanguageandsociety

100,000yearsagouptothedevelopmentofwriting.395AccordingtoBenzon,musicalelaborationin

Rank 1music focuses on rhythm and the groove stream, with rhythmic complexity developed by

manipulatingthephasingofrepetitivepatterns.Melodicdevicesremainrelativelysimple;harmony

playsnostructuralroleinRank1music.

Rank2culturesarerepresentedbytheancienthighcivilizationswithwritingsystems,walledcitiesand

permanentagriculture;Rank2musicincludestheNearandFarEastandmedievalEurope.WithRank

2,thecontrolofmelodybecomesdifferentiatedfromthecontrolofrhythm.Melodicpitchesarenow

intrinsic to the music itself and no longer dependent on pre-existing and dispositional vocal

mechanisms.With theemergenceofmelodicelaboration,creationofmusicalmeaningbycreating

expectations becomes possible. With Rank 2, two aspects of musical material are independently

manipulatedanddevelopedaschannelsofcontrol:rhythmandmelody.Harmonicstructurestillhas

nostructuralsignificance.

TheRenaissanceseesthebirthofRank3culture,whichcontinuesthroughtheIndustrialRevolution

and currently dominates theWestern world. This world gives us classical music characterized by

detailed notation. From melodic elaboration in Rank 2, we now move to harmonic elaboration.

Harmonyasthesimultaneoussoundingoftwoormoredifferenttonesexiststoacertainextentatall

ranks, however, the manipulation of these simultaneous occurrences is not organized into a

constitutiveprinciple.Thatonlyhappensinthepost-RenaissanceWesternworld.Themusicalmaterial

isnowsubjecttothreeindependentsourcesofstructure.

Rank4culturestartsintheartsandscienceswiththebeginningofthe20thcenturyandis,according

totheauthors,aworkinprogressandnotyetamenabletoananalysisinmacro-historicalterms.

13.2.2 IU2:Fourorientationsincriticaltheory–literarycriticism

InTheMirrorandtheLamp:RomanticTheoryandtheCriticalTradition (1953), literarycriticMeyer

HowardAbrams(1912-2015)discernsfourcoordinatesinthetotalsituationofaworkofart:thework,

theartist,anaudience,anda‘universe‘towhichthethreepreviouscoordinatesrelate(Abrams,1953,

p.6).

395Rank1musicalsoincludesmusicoftheindigenousculturesofNorthandSouthAmericaandsub-SaharanAfrica.

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Figure13.1.ThecoordinatesofartcriticismaccordingtoAbrams(1953,p.6).

Abramsassertsthatanyreasonablyadequatetheorytakessomeaccountofallfourelements,butalso

exhibits a discernible orientation toward one specific aspect as a point of departure for defining,

classifying,andanalyzingaworkofart,aswellasthemajorcriteriabywhichhejudgesitsvalue.

Fromthisgeneric framework fourorientationsofcritical theoriescanbe inferred(seealsoPieters,

2007,pp.46–57):

• Amimeticorientationrelatestotheideathataliterarytexthasaclearlyrecognisablerelationtoreality.ArtconsistsinimitatingaspectsoftheuniverseandsuchmimeticpoeticsaremostprominentlyadvocatedbyPlatoandAristotle.

• Apragmaticorientationthatfocusesontherelationbetweentextandaudience.SuchapoeticattitudecanbeobservedinRomanpoeticsofHoracewheretheworkofartislookeduponprimarily as a means to an end, an instrument for getting something done and to effectrequisiteresponsesinitsreadersintermsofpleasureandvirtue.

• AnexpressiveorientationthatcharacterizestheRomanticperiodandconsiderspoeticstobethe expression and overflow of personal feelings and ideas of an artist: “a work of art isessentiallytheinternalmadeexternal,resultingfromacreativeprocessoperatingundertheimpulseoffeeling,andembodyingthecombinedproductofthepoet'sperceptions,thoughts,andfeelings”(Abrams,1953,p.22).

• Anobjectiveorientationthatfocusesontheartworkasaformalstructure.Here,theworkofartisregardedasa“heterocosm”(Abrams,1953,p.27),aworldofitsown,inisolationfromallexternalpointsofreferenceandisanalysedasaself-sufficiententityconstitutedbyitspartsintheirinternalrelations,andisjudgedbycriteriaintrinsictoitsownmodeofbeing.

13.2.3 IU3:Formsoffeeling–philosophyofculture

Inaseriesofpublications,philosopherSusanneLanger(1895-1985)arguesthataworkofartexpresses

humanfeeling.AccordingtoLanger,anexpressiveformis“anyperceptibleorimaginablewholethat

exhibitsrelationshipsofparts,orpoints,orevenqualitiesoraspectswithinthewhole,sothatitmay

betakentorepresentsomeotherwholewhoseelementshaveanalogousrelations”(Langer,1957,p.

20). The role of such forms is to represents things that are not perceivable or readily imaginable.

Categoriessuchas ‘earth’arenotperceivableasanobjectandaretherefore inneedofexpressive

formssuchasmapsorlittleglobesinordertoallowfurtherthinkingaboutthecategory.

UNIVERSE

WORK

ARTIST AUDIENCE

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Amusicalworkissuchanexpressiveformandharboursastructureoftemporalflow,pitchcontours,

anddynamicsthatisanalogoustothefeltpatternsoftheflowinhumanexperience.Whenalistener’s

imaginationiscaughtbythedevelopmentofthesemusicalcontours,thatperson’sexperiencestarts

toresonatewiththefeltqualitiesofthemusic.

Inthecaseofartworks,Langerdifferentiatesbetweenpresentationandrepresentationandargues

that,althoughanexpressiveformsuchasmusicseemstorepresentananalogousentity,“aworkof

artdoesnotpointustoameaningbeyonditsownpresence.Whatisexpressedcannotbegrasped

apart from the sensuous or poetic form that expresses it. In a work of art we have the direct

presentationofafeeling,notasignthatpointstoit”(Langer,1957,pp.133–134).

Feelingthepatternsofthemusicalmotionismeaningfulinthesamewaythatanypatternofemotional

flowismeaningfultousatapre-reflectivelevel.Activelisteningtomusicmeansthentoimaginatively

enteringitsmotionsexperiencingviaourvital,tactile-kinaestheticbodiesthewaysinwhichthemusic

moves,swells,rushes,drags,rises,andfalls.Langersummarizes:“Aworkofartpresentsfeeling[…]

forourcontemplation,makingitvisibleoraudibleorinsomewayperceivablethroughasymbol,not

inferablefromasymptom.Artisticformiscongruentwiththedynamicformsofourdirectsensuous,

mental,andemotionallife”(Langer,1957,p.25).

13.2.4 IU4:Contourandconvention–analyticalphilosophy

PeterKivyaimsatdemonstratinginTheCordedShell:ReflectionsonMusicalExpression(1980)that

“someemotivepredicatesareapplicable tomusic,andwhy theseareapplicable intersubjectively”

(Kivy,1980,p.11).KivyexplicitlyreferstoLanger’spointofviewwithregardtotheanalogybetween

feelingandmusicbutrejectsthepossibilitythatmusicwoulddirectlyrelatetothestructureoffeeling

andemotionandthereforemakesacriticaldistinctionbetween'toexpress'and'tobeexpressiveof':

thefaceofaSaint-Bernardis 'expressiveofsadness'–it lookssad–butthatdoesnotimplythatit

represents the expression of the actual feeling of the dog in question. Similarly, music can be

expressiveofacertainemotion,withoutanecessaryconnectionwiththeconditionofthecomposer.

Inhis ‘contour’ theoryKivyasserts thatmusicdoesnot refer to the structureofemotion itself, as

Langerargues,butrathertotheexpressionofemotionsinvocalutterancesandinbodilygestureand

posture(Kivy,1980,p.53).

Asasecondelementinatheoryofemotiveexpressivenessinmusic,Kivyformulateshis‘convention’

theoryofmusicalexpressivenesswhichexplainstheexpressivenessofmusicasafunction,simply,of

thecustomaryassociationofcertainmusicalfeatureswithcertainemotiveones,quiteapartfromany

structural analogy between them (Kivy, 1980, p. 77). Kivy adds that that “all expressiveness by

conventionwasoriginallyexpressivenessbycontour”(Kivy,1980,p.83).

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13.2.5 IU5:Formsofvitality–psycho-analysis,childdevelopment

Instudiesonthedevelopmentalaspectsofhumanexperience,psychiatristDanielSternfocusesonthe

patternsthatmarktheprocessandflowofourfeltexperiencesuchasthebuildupoftensionandits

release,thesenseofdrifting,theenergeticpursuitofagoal,theanxiousanticipationofsomecoming

event, and the starting and stopping of a process. Stern calls these patterns ‘vitality affects’ and

describesthemas“thosedynamic,kineticqualitiesoffeelingthatdistinguishanimatefrominanimate

andthatcorrespondtothemomentarychangesinfeelingstatesinvolvedintheorganicprocessesof

beingalive”(Stern,1985,p.156).AccordingtoStern,vitalityaffectsareexperiencedasdynamicshifts

orpatternedchangeswithinourselvesorothers.Theydonotcorrespondto traditionalcategorical

affectssuchasjoy,anger,sadnessbutareformsofdynamicattunementtoaparticularenvironment

orevent.Intersubjectiveaffectattunement,then,is“theperformanceofbehavioursthatexpressthe

qualityof feelingofasharedaffectstatewithout imitatingtheexactbehaviouralexpressionofthe

innerstate”(Stern,1985,p.142).396

Inasubsequentpublication,Sternusestheterm‘vitalitycontours’torefertothemannerinwhichan

actisperformedandthefeelingthatdirectsit.Sternsuggestsaglobalunitofsocialunderstandingthat

isbasedonanappreciationofthetemporalcontouringandunfoldingofexperience.Thistemporal

unfoldingoccursinseveraldomainssimultaneously.

Therearetheexternal,objectifiablemovementsandsounds,suchasheadturning,pointing,and facial and vocal expressions, that form and decompose. Synchronous with thesebehaviouraleventsthereareinternalsubjectiveeventsconsisting,amongotherthings,ofthecontinual, instant-by-instant shifts in feelingstate, resulting inanarrayof temporal feelingflowpatternsthatwewillcallvitalitycontours.(Stern,1999,p.67)

Anyshiftintheflowpatternofastimuluselicitsacorrespondingperceivableshiftinarousal,activation,

and hedonic tone and subjectively integrated into temporally contoured feelings. These vitality

contoursareconcernedwiththe“how”ratherthanthe“what”offeltexperiences,theydisregardthe

content (emotions, thoughtsoractions),butareconstitutedthroughfeelingflowpatternsthatare

bestcapturedbydynamickineticterms,suchassurging,fading-away,fleeting,explosive,tentative,

effortful,accelerating,decelerating,climaxing,bursting,anddrawnout(Stern,1999,p.68).

Sternassertsthatvitalitycontoursunderlietheappreciationofmostartformsthataretime-basedand

formally devoidof ‘content’, such asmostmusic anddance: “dance reveals to the viewer-listener

multiplevitalityaffectsandtheirvariations,withoutresortingtoplotorcategoricalaffectsignalsfrom

whichthevitalityaffectscanbederived.Thechoreographerismostoftentryingtoexpressawayof

feeling,notaspecificcontentoffeeling”(Stern,1985,p.56).

396See11.2.2.2.b.

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In a 2010 monograph, Stern further specifies ‘forms of vitality’ into five dynamic events, the

fundamentaldynamicpentad,whichgiverisetotheexperienceofvitality:movementistheprimary

element and implies the ensuing elements of force, time, space, and intention/directionality/end-

pointdirectedness.

Thereisatemporalcontourortimeprofileofthemovementasitbegins,flowsthrough,andends.[…]Movementalsobringswith ittheperceptionorattributionofforce(s) ‘behind’or‘within’themovement.Inaddition,movementhastohappeninspace[…]Finally,amovementhas directionality. It seems to be going somewhere. A sense of intentionality is inevitablyadded.Inasenseforce,time,space,anddirectionalitycouldbecalledthefourdaughtersofmovement.[…]Thesefivetheoreticallydifferentevents–movement,time,force,space,andintention/directionality–takentogethergiverisetheexperienceofvitality.[…]ThisnaturalGestaltgivesrisetotheexperienceofvitalityinone’sownmovementsandinthoseofothers.(Stern,2010,pp.4–5)

ForStern,vitalityisaGestaltthatresistsanalysisintermsofeachseparateelement;itisimmediately

graspedfromthisfundamentaldynamicpentad.

For the developmental aspect of vitality, Stern leans heavily on a framework introduced by

developmental psychologist Heinz Werner which implies that wherever development occurs it

proceeds from a state of relative globality and lack of differentiation to a state of increasing

differentiation, articulation, and hierarchic integration which allows for more flexible behaviour

(Werner,1940/1957,p.55).Fromthispointofview,itcanbeinferredthattemporalartssuchasmusic

anddancehavea specificdevelopmental role indifferentiatingandextending the communicative,

affectiverepertoireofhumans.397

13.2.6 IU6:Embodiedsemantics–linguistics&philosophy

InMetaphorsWeLiveBy(Lakoff&Johnson,1980),LakoffandJohnsonconsideredmetaphortobea

fundamentalbutoftenunnoticedmechanismofmind,onethatallowsusingwhatweknowaboutour

physicalandsocialexperiencetoprovideunderstandingofcountlessothersubjects.Inensuingstudies

Johnsonobservesthatvirtuallyallofourconceptualizationanddescriptionofmusicusesmetaphors

whose source domains are drawn from sensorimotor experience (Johnson, 2007, p. 243) and

advocatesatheoryofembodiedsemanticswithregardtomusicalmeaning.398

Withinsuchaframework,meaningisnotaspontaneousconstructionofanautonomousmindandnot

limitedtotheframingofconceptsandtheircombinationintopropositions;instead,meaningistobe

situatedwithinaflowofexperiencethatcannotexistwithoutabiologicalorganismengagingwithits

397TheprocessissimilartotheonesuggestedbylinguistAllisonWrayandMitheninrelationtoevolutionarylanguagedevelopment(Mithen,2005,pp.3–4).398 Johnson’s insightsare strongly informedbyMerleau-Ponty’sviewswith regard to the roleof thebody inconstitutingmeaning(Johnson,2006).

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environment.Meaningemergesthroughincreasinglycomplexlevelsoforganicactivity,andthe‘top-

down’ structure that shapes and constrainswhat canbemeaningful andhow it ismeaningful are

originallybuildupon‘bottom-up’andbody-environmentrelatedprocesses(Johnson,2006,p.7).

Johnsongrantsgesturesapivotalroleintheenactmentofmeaningandcomes–viaalinkagetoStern’s

vitalityaffects(Johnson,2006,p.10)–toanunderstandingofmusic’sfunctionasapresentationand

enactmentoffeltexperience.Musicalmeaningisprimarilyembodiedmeaningandhasonlylimited

representational value. Moreover, this type of meaning based on images, affect contours and

metaphorsgoesfarbeyondconceptualandpropositionalcontent.Ourhumancapacitiesfordiscerning

meaning operate pervasively in all our experience, artistic and non-artistic alike, but in art those

capacities operate in an exemplary fashion by exploring how experience can be significant and

meaningful(Johnson,2007,p.262).

13.2.7 IU7:Topictheory–musicology

InClassicMusic(Ratner,1980),musicologistLeonardRatner(1916-2011)developsthefieldof‘topical

analysis’tofindanaccountforthestylisticpluralitythatissoeminentlypresentinthemusicofthe

eighteenthcentury.WhereasthevariousentitiesinBaroquecompositions(dances,movements)are

ideally characterized by one single affect (Mattheson, 1739) supported by dedicated figures, 18th

century Classicalmusic allows for the possibility of an individualmovement to combine disparate

materials,leadingtoadifferentiationandcontrastofstyles–theriseofoperacanbelinkedtothe

emergenceofdramaticandcontextualturnsinoneopus.Thesematerialsandtheirdefiningmusical

componentsare typicallygrounded inanoriginal, functionalcontext (dances,ceremonies, religion)

andthenrelocatedinanewcompositionwhereforinstance“akeyboardinstrumentcanplayahorn

callorastringquartetcanevokesacredpolyphony”(Sutcliffe,2014,p.118).Theprocessofimporting

musicfromelsewhereintoanewcompositionalcontext isthemostcharacteristicaspectoftopical

discourse.

Musicaltopicsaregeneraltypes,capableofbeingrepresentedbyparticulartokens.Thereisacommon resistance among musicians to ideas of generalized meaning. According to thepopular view, eachmusical piece, eachmelody and figure, is essentially unique. (Monelle,2000,p.15)Topicsarecharacteristicfigures,dances,marches,genres,textures,orevenentirestylesthatare imported,alongwith theirgeneralexpressivecorrelations, intoa largerwork, inwhichtheyarethencontextuallyinterpreted,oftenaspartofthedramatictrajectory,orwhatIcallexpressivegenre,ofthatwork.(Hatten,2010,pp.51–52)

Topictheorydevelopsathesaurusofcharacteristicfigures(Ratner,1980,p.9)andsuggestsaworld

with enlarged musical horizons where music can be found everywhere in a society and readily

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transferred from one place to another; it also allows for overturning hierarchies that may exist

betweentypesofmusicandtheiroriginalfunctionalcontexts.

In Fig. 13.2,musicologist Kofi Agawu’s list of common topics for ClassicMusic is presented as an

orientationtotheworldsofaffect,style,andtechniquethattheysetinmotion(Agawu,2009,pp.43–

44).399

Figure13.2.AUniverseofTopicforClassicMusic(afterAgawu,2009,pp.43–44).

13.3 Recontextualisationwithinthecontextofperformativeanalysis

TheIUspresentedaboveoriginateinavarietyofdisciplinesandintra-disciplinaryorientations.Froma

pragmaticperspective,thismixtureofepistemicbackgroundsshouldnotinhibitthe‘jumpingtogether’

ofinformationalelements.Asproposedin10.3,thetypeofconsiliencethatisadvocatedinBCiPPis

notconcernedwithtruthfullyexplainingphenomena,butpragmaticallyinvigoratingandfreeingthe

personaltheoriesandbeliefsthatserveasabackgroundtoartisticaction.

Introducing the IUs presented above into the field of a bio-culturally informed performative and

interaction-orientedanalysispotentiallyimpactsonatleastfourdomains:1/thestreamsofmusical

interaction;2/theintentionalfociofperformance;3/musicandvitality;and4/bio-topicsasunitsof

performativeanalysis.

399Ratner’soriginaltopicsarerepresentedinAppendix15.

1.Albertibass2.allabreve3.allazoppa4.allemande5.amorosostyle6.ariastyle7.arioso8.stilelegato9.bourrée10.brilliantstyle11.buffa style12.cadenza13.chaconnebass14.chorale15.commediadell’arte16.concertostyle17.contredanse18.ecclesiasticalstyle19.Empfindsamer style20.Empfindsamkeit21.fanfare

22.fantasiastyle23.Frenchoverturestyle24.fugalstyle25.fugato26.galantstyle27.gavotte28.gigue29.highstyle30.horncall31.hunt style32.hunting fanfare33.Italianstyle34.Landler35.learnedstyle36.Lebewohl37.lowstyle38.march39.middle style40.militaryfigures41.minuet42.murkybass

43.musette44.ombrastyle45.passepied46.pastorale47.patheticstyle48.polonaise49.popular style50.recitative(simple,accompanied,obligé)51.romanza52.sarabande53.siciliano54.singingallegro55.singingstyle56.strictstyle57.SturmundDrang58.tragicstyle59.trommelbass60.Turkishmusic61.waltz

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13.3.1 Threestreamsofmusicalinteraction

Althoughthemultiple-streamhypothesis[IU1]isanextremereductionofthemusicalphenomenon

by explaining it in terms of a gestural, a groovy, and an architectonic stream, it largely confirms

essentialaspects thatcanbe inferred fromtheattractormodelaspresented inChapter11:1/ the

gestural stream can be related to melodic and motivic contour and, as such, conforms to the

behavioural instruments that are put to work in affect regulation/attunement, expression and

mimesis;2/thegroovestreamisananalogueoftheconceptofentrainment;and3/thestreamthat

accounts for the architectonics in music can well be linked to proto-narrative aspects in affect

regulationandthemacro-structuralaspectsofdiegesis.

The hypothesis of three streams can also be related to contemporary, state of the art analytical

approachesthataimataccountingforexpressiveperformativemicro-timing.Withaviewtoformulate

adequaterulesinordertocomputationallyprogramthesemicro-structuraldeviationsandadaptions,

musicalperformanceresearchersAndersFribergandEricaBisesi lookat localevents thatattracta

listener’sattention.These loci,called“accents”,areeitherevidentfromthescore(“immanent”)or

added by the performer (“performed”). They do not only include dynamic accents, but are also

associatedwithgrouping,meter,melody(peaksand leaps),harmony,andtimbre (Friberg&Bisesi,

2014,p.241).Friberg&Bisesiarriveatformulatingfourfundamentalaccentsthatcanthenbefurther

linkedtoexpressiverulesofperformance(Friberg&Bisesi,2014,p.243):

• Amelodicaccentoccursatlocalpeaksandvalleysofthemelody.400• Ametricalaccentoccursatthestartofimportantmetricalunitssuchasthestartofameasure.• Aharmonicaccentoccursatchordchanges.• Aphrasing(orgrouping)accentoccursatthestartofaphraseatanyhierarchicallevel.

Next,theauthorsadda‘salience-factor’toeachoftheaccents,basedonspecificcontextsinwhich

theyoccurtocometoanalysessuchastheonepresentedinFig.13.3withregardtoChopin’sBerceuse.

400Toidentifythemelodicaccents,firstthehighestandlowesttonesofthewholemelodyarelabelled,followedbyanindicationoflocalpeaksandvalleys.Theauthorsindicateherethat,basedontheirobservations,peaksaremoresalientintermsofmicro-expressivitythanvalleys.

361

Figure13.3.AnalysisofimmanentaccentsinChopin’sBerceuse,

Op.57inDflatmajor,bars1–19(Friberg&Bisesi,2014,p.251).401

Directlinkstothethree-streamhypothesisandtheattractor-modelcanbeinferredfromthisanalytical

andaccent-orientedmodeofanalysis:themelodicaccentsrefertothegesturalstreamandtheways

inwhich themelodic contour develops; themetrical accents relate to the groove-stream and the

presenceofpulse;andtheharmonicaccentsimplyanarchitecturalstreambasedonthesuccession

andshiftingofharmonies.Thegroupingaccentisanewelementandisintrinsicallylinkedtothelimits

ofperceptionandtheneedtoimposeorderinasoundscape.Itisafactorthatisnotdiscussedinthe

401PermissiontouseandrepresentthismaterialinthecontextofthisdissertationwasgrantedbybothauthorsonJuly28th2017andbyOxfordUniversityPressonAugust7th2017;onwardreuseofthiscontentisprohibitedwithoutpermissionofOUP.Anaudioexampleoftheprogrammedrenditionisavailableathttp://fdslive.oup.com/www.oup.com/booksites/uk/booksites/content/9780199659647/Ch14.2f_Chopin-op57-total.mp3.

362

context of this chapter, but insightswith regard to ‘chunking’402 (cognitive psychology) and direct

perceptionviavariantsandinvariants(ecologicalpsychology)couldcertainlyanadditionalelementto

bestudiedfromaninteractionalperspective.403

OneoftheconclusionsoftheFriberg&Bisesistudyisthat:“theBachpiecewithitsregularcharacter

isperformedwithpronouncedmetricalaccentsandwithsmallerphrasing,whereasthemorecantabile

Chopinpieceisperformedwithoutmetricalaccentsandwithratherlargephrasing”(Friberg&Bisesi,

2014,p.256).By this, theauthors implicitly confirmthemacro-historical impactofa three-stream

hypothesisasformulatedinIU1:thethreestreamscanbetracedacrossgenresandculturesandvary

intheirdegreeofrepresentation.

Inour search forelements thatcouldbepartofabio-culturally informedand interaction-oriented

performativeanalysis, the threestreamsseemtoqualifyasabasicmodel formodellinga score in

termsofinteractiveaffordances.

13.3.2 Fourfocalelementsofperformance:monadic,dyadic,triadic,quadratic

Abrams’fourpoeticorientations–mimetic,pragmatic,expressiveandobjective–originateinliterary

theory,butcantheyalsoberelatedtotheattractor-frameworkrelatedtointeractionandbasedon

modesof interaction inmusicking? InChapter11, itwas indicatedhow themother-infant relation

developsfromadyadicrelationbasedonaffectregulation,attunement,entrainmentandexpression

intoatriadicrelationwhere,firstviathemechanismofjoinedattentionandlaterbymeansofmimesis

anddiegesis, a relation is forged betweenmother (father), infant, a perceivable environment and

eventuallyanextended,imaginaryenvironment.InformedbyAbramsinsightsinIU2andtakingthe

perspectiveoftheperformeras‘caregiver’404inacontextofcommunicativemusicality,itispossible

to reframe these categories and link them to an expressive, pragmatic, objective and mimetic

orientation.

Startingwiththemodeofinteractionrelatedtotheexpressionofaffects,itcanbearguedthatthis

categorycomesclosetotheexpressiveorientationidentifiedbyAbramsasapoeticsthatexpresses

thepersonalfeelingsandideasofanartist(self-expression).Thesituationinscore-basedperformance

iscomplexduetotheinvolvementoftwocreativeactors,thecomposerandtheperformer.However,

for the sake of the argument and to avoid the complexity of double creation, a situation can be

402Theprocessoforganizinginformationintoameaningful,coherentandintegratedwhole(Miller1956).403 Elements of perception are included in the attractormodel but as forming the link between action andinteraction.Becauseofthismediatingroletheyarenotincludedinthisinteraction-focusedchapter.404 Thepositionof themusicianas caregivermay seemodd,howeverDescartes’ insightswith regard to thetherapeuticeffectofmusicinLespassionsdel'âme(1649)ormorerecentadvancesinthefieldofmusic-therapycorroboratesuchaposition.

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imaginedinwhichtheperformerintendstoactasanembodiedmediumwiththeintentionalaimto

betheneutralvehicle,anexecutantortranslator(Stravinsky,1947,pp.123-124)throughwhichthe

affectivelifeofthecomposershinesthrough.Suchatotalidentificationwiththefeelingsandideasof

thecomposerresonateswithC.P.E.Bach’sdictum:“thekeyboardplayerhimselfhastosensethesame

passionsastheonestheauthorfeltwhencomposinganewpiece”[CPEBachVersuchI,3§13]405,but

comesalsoclosetothewayinwhichitisperceivedinpopularmusic:thecomposerortext-writeris

completelyforgottenwhenapop-singerperformsasong,thereisonlythepresenceoftheperformer

(seealsoPerAageBrandt’sanalysisin13.3.2).

Takingtheseconsiderationsintoaccount,itcanbearguedthataperformativestancethatfocuseson

self-expressionismonadic,meaningthattheprincipalfocusoftheperformer/composer isdirected

inward and that the interactive and dyadic component with the audience is considered to be an

epiphenomenonbeyondher/hiscontrolandinterest.Amonadicstancerelatestoaffectexpression;

theperformerembodiesthemusicas(s)heisexpressingher/hisownstateofmind(scriptedbyatext),

without an intentional and primary focus on the effect that it generates on the audience. This

performativestance isstronglyrelatedtothenotionofEmpfindsamkeit–“AusderSeelemußman

spielen,undnichtwieeinabgerichteterVogel”[C.P.E.Bach,Versuch,TeilI,H3‘VomVortrage’,§7],the

romanticcategoriesoffeelingandgenius,andtothepsycho-analyticalinfluenceonthinkingaboutart:

musicfulfilstheneedofexpressingdeep,uniqueandhiddenfeelingsofatalented,sensitivemusician;

theaudienceisgrantedtheprivilegeofwitnessingthisrevelationbutthatisnottheleadingconcern

oftheartist.

Ifself-expressionrelatesarchetypicallytoamonadicperformativestance,thenthecategoriesofaffect

regulation,attunementandentrainmentcanbeconnectedtoadyadicstance,toAbrams’pragmatic

orientation, to a rhetorical position and to thehistorical frameworkof aWirkungsästhetik. Sucha

stanceisnotself-buteffect-oriented;thegoalofmusickingistocreateasonicenvironmentthatelicits

aparticulareffectintermsofaffect,mood,emotionorfeelinginthelistener.Affectregulationbuilds

onprinciplesofactionand reactionandon theartofattentionmodulationwhileattunementand

entrainment rely on principles of transaction and the sharing of vitality contours. In the case of

attunement,melodic contouringwill be themain instrument; in the caseofentrainment rhythmic

pulsecouplingwillbeacentralconcern;inattentionandmoodregulation,suddenaccentsandsilences

ordescendingandascendinglineswillbetheprimarymusicaltools.Thedyadicstancecanalsoinvolve

405Er[derClavieriste]mußdieselbeLeidenschaftenbeysichempfinden,welchederUrheberdesfremdenStückesbeydessenVerfertigunghatte.BesondersaberkanderClavieristevorzüglichaufallerleyArtsichderGemütherseinerZuhörerdurchFantasienausdemKopfebemeistern.http://www.koelnklavier.de/quellen/versuch/kap1-3.htmlconsultedNovember2016.

364

proto-narrativeelementssuchasintroduction,repetition,variation,development,climax,resolution

(Malloch&Trevarthen,2009b,p.2).

Buildingontheforegoinglogicofperformativestancesandfoci,itisalsopossibletoimagineatriadic

stance (audience-performer-work) and relate it to situations of joint attention and to Abrams’

objectiveorientation.Atriadicperspectivefocusesonthepresenceofanartworkandonitsformal

structure. Via the mechanism of joint attention and shared intentionality, the focus is on the

composition’s immanent structure and on finding, revealing and sharing elements of interactive

interest. A performer’s role in a triadic context does not need to be limited to being a guide, the

performer co-experiences this composed environment and can also express primary and affective

reactions inrelationtothatenvironment. Insuchasituation,the listener,confrontedwitha (new)

sonicandcomposedenvironment,lookstotheperformerforguidancetodetermineandtoseewhat

anappropriatereactionwouldbe.(S)heispotentiallycontaminatedviaamechanismofempathy:a

performerprojectingenjoymentorseriousnesswhileplaying,willinfluencethereactionofthelistener

accordingly.Inthislastcase,themonadicandtriadicstanceappearasanintegratedwhole.

Finally,thetriadicstancecanbefurtherextendedtoaquadraticperspectiveinthecaseofmimesis

anddiegesis:aquadratic-mimeticstancefocusesontherelationbetweentheaudience,theperformer,

thescoreandtheelementsofthe‘universe’thatarepresentedbymimesis.Biologicalcomponents

canbeinvolvedinmimesissuchasflora,fauna,events,persona,affects,habitats,naturalphenomena

butalsoculturalmemessuchasdances,genres,well-knowntunes.Whentheperformermimetically

imagines and presents a persona, this will include elements of affective expression leading to a

nuanceddifferentiationbetweenamonadicandquadratic-mimetic imagination.Inthecontextofa

monadicstanceandimagination,itistheexpressionoftheperformerthatisgrantedacentralrole;in

aquadratic-mimeticcontexttheexpressionoffeelingrelatestoanimaginedorganism.Theexpression

isachievedviagestures(cfr.13.2.4,Kivy’scontourtheory)orintermsofvitalitycontours(cfr.13.2.5).

Aquadratic-diegetictriadicstanceisconcernedwiththerelationbetweentheaudience,theperformer

andasuccessionofeventswhicharere-presentedbyanarrative.Sinceinstrumentalmusicgenerally

doesnot representconcreteelements– ithasa free-floating intentionality– thediegetic factor in

musicrelatestothemodesofoperationandthetemporaldevelopmentthatarerelatedtostory-telling

(Meelberg,2006,pp.39–40).Inconclusionofhisstudyonnarrativityincontemporarymusic,Meelberg

relatesnarrativeanalysistoarticulatingthewayshumansubjectsmaybeabletocomprehendunique

phenomenasuchasamusicalcompositionorimprovisation,andtounderstand“theobserver’surge

to integrate the artwork’s elements into a graspable whole”; moreover, he concludes that “the

narrativizationofcontemporarymusicleadstoaconstructionthatisfabricatedbythelistener,and

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nottotheexposureofthetrueessenceofthemusic(whateverthatmaybe)”(Meelberg,2006,219).

Bysuggestingaquadratic-diegeticstancetheperformerbridgesthevoidbetweentheidiosyncracyof

themusicalworkandtheinbuilturgeofthelistenertomakeandtoexperiencestories;(s)hefacilitates

thegraspofunitybyassumingtheroleofastory-teller–includingthevitality-statesthatareattached

tothatrole.

Theroleoftheperformeriscomplexinitsrelationtothecomposer,thecomposedwork,theaudience,

and the sonic environment that (s)he is causing and simultaneously experiencing. The foci of

performanceproposedhereonlymakesenseinacontextwhereaperformer’spresenceisconsidered

tobetheprimepointofreferenceinamusicalinteractionwithanaudience(seealsoFig.13.3andFig.

13.4).Aperformercanembody, simultaneouslycauseandexperience (doandundergo)a scripted

sonicenvironmentasapersona,asastoryteller,anactor,viadyadicregulationorviaaction-metaphor

orisaco-listenertoacomposedenvironmentandactsasaguideviajointattentionorasareactive

observer.Fromaneverydayinteractionperspective,itiscommontocombineortoswitchbetween

thesefoci:intellingastory,forinstance,personalfeelingsconnectedtothestorywillshinethrough

whileattentionwillbepaidtothelistener’sresponsesandcertainelementsofthestorywillbeenacted

gesturally. However, dogmatic points of view that foreground one option from this world of

possibilities arenotuncommon inmusical discourse: “aperformer is the servantof the score”, “a

performer is a guide”, “the performer is an actor”, “the performer is an orator”. The foregoing

approachintermsoffociofperformanceoffersaframeworkinwhichthesedogmaticpositionscan

becounteredanddifferentiated ina systematicwayandwhereonecannavigateandassess focal

optionsinfunctionoftheconcretesituation(score,audience,space)andtheinteractiveaffordances

thatitholds.Allfourcategoriesequatetopotentiallyplausibleperformativeapproaches.Thefociof

performancearethusnotatoolforestablishinga‘best’approachbut,onthecontrary,ameansof

underliningthemultiplicityoffocithataperformer’sperformativerolecantake.

Wecansummarizethatthefourfociofperformanceallowaperformertoreflectonhowtocombine

ortonavigateperformativestancesbyfocusingon:1/self-expression;2/theeffectoftheperformance

ontheaudience;3/ the immanentelementsof thecomposition;and4/thesuggestionbydiegesis

and/ormimesisofenvironmentsthatarenotactuallypresentintheperformancespace.Sincethese

fociseldomappearinisolationitisappropriatetorefertothemasfourfocalelementsofperformance

thatcanbefreelycombinedandanalysedinfunctionofcaptivatingmusicalinteraction.

AswillbeshownmoreconcretelywithChopin’sMazurka(see13.5),thesefociarenoconsequence-

free intentionally imagined perspectives. A qualitative performative difference can be noticed

betweenexpressingone’sownfeelings/moods(monadic), inducingthem(dyadic),sharingthemon

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thebasisofelements in thedirect sonicenvironment (triadic),or (re)presenting them (quadratic);

choosing oneof these options has perceivable consequences on performative parameters such as

micro-timing,articulation,dynamics,andtempo.

13.3.3 Musicandvitality

IUs3to5(see13.2.3-5)relatetotheideaofmusicastheexpression/presentationofaffects,emotions,

moods,andfeelings406andhaspotentialrepercussionsonhowtoassessandanalysepiecesofmusic.

Asstatedbefore,musicalanalysisisafieldofstudythathasconcerneditselfprimarilywiththemusical

scoreandwithstructuralelementspresentwithinacomposition.Suchascore-orientedattitudecan

betracedbacktotheriseofempiricisminthe18thcentury(Weber,1994)butalsotoastrivingfor

musicalautonomyinthemiddleofthe19thcentury.InVommusikalischSchönen(1854),theViennese

musiccriticEduardHanslick(1825-1904)claimedthatmusicexpressesmusicalideasandthat“tönend

bewegte Formen" (Hanslick, 1854, p. 32) are the content ofmusic and that the idea ofmusic as

describingandexpressingemotionsisathreattomusic'sautonomy.

Langer,KivyandSternpositionaffect-relatednotionssuchasfeeling,emotion,andmoodbackinthe

verycentreofmusicaldiscourse.Asapointofdeparture for their theories theyrevisit themusical

insights thatpre-date the formal turn inmusic and refermore inparticular to theDoctrineof the

Affections (German,Affektenlehre)which relates primarily toBaroquemusic andwhichholds that

music should express idealized emotional states and have listeners feel these states. In Der

vollkommene Capellmeister (1739) all-roundmusician and theorist JohannMattheson (1681-1764)

describessome30affectsbutconcretemusicalmeanstorepresentthemareonlysuggestedforafew.

Forinstance,largeintervalstorepresentjoy,smallintervalstorepresentsadness,ascendingmotion

forpridebutdescendingmotionforhumility,anddisorderedsequencesofnotesfordespair(Bartel,

1997). During the baroque, composers generally sought to express only a single, idealized and

universal affect per composition. In the course of the 18th century, however, the need to have

personally experienced the affection is increasingly emphasized to the point that, at the dawn of

Empfindsamkeit (English, sensitivity), experience rather than rational knowledge of the affection

becameaprimeelementinmusicalcreation.Duringthelatterhalfofthe18thcenturyandinstigated

bymusicianssuchasJohannJoachimQuantz(1697-1773)andCarlPhilippEmanuelBach(1714-1788),

theDoctrine of the Affections was eventually abandoned in favour of an Empfindsame Stil which

implied the possibility and freedom to use whatever means fantasy and intuition may suggest

406See11.3.2.2 for theessentialdistinctionsbetweenthe terms: ‘affect’ isusedasacluster-term; ‘emotion’refers toa relativelybriefepisodeofdispositional changesoraction tendencies; ‘feelings’are thesubjectiverepresentationofemotions;‘mood’isof lowerintensitythanemotionbutlongerinduration;‘temperament’referstoparticularinherent/inbornaffectivestyles.

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expressing subjective feelings inmusic. It is within this context that C.P.E. Bach formulates in his

VersuchüberdiewahreArtdasClavier zu spielen (1753)a crucial insight inhowtheexpressionof

feelingsviaacompositionrelatestotheperformer:

Amusiciancannotmoveothersunlesshehimselfismoved.Thushemustofnecessitybeabletoimmersehimselfinalltheaffectshewishestoarouseinhislisteners;hemustcommunicatehisfeelingstotheminsuchawayasbesttomovethemtoempathy.Inlanguidandsorrowfulpassageshemustappearlanguidandsorrowful.Onemustseeandhearitinhim.Thereverseistruewithpassionate,cheerful,andotherkindsofideas,whenheimmerseshimselfintheseaffects.Nosoonerisapassionstilledthananotherisexcited,andthushepassesconstantlyfromonetoanother.Thisisespeciallythecaseinpiecesthatarehighlyexpressive,betheyconceivedbytheperformerhimselforbysomebodyelse;inthelatter,theperformermustfeelthesamepassionwithinhimselfthattheauthorofthepieceintendedatitscomposition.[C.P.E.Bach,Versuch,TeilI,H3:‘VomVortrage’,§13](Bach,C.P.E.,1753,p.123;Fubini,1994,p.294)

With this remark, C.P.E. Bach provides a link between the generic understandings with regard to

musical expression (as indicated by Langer, Kivy and Stern, see 13.2.3-5), embodiment [IU6] and

performativeanalysis:ifmusicexpressesaffects(emotion,feelings,moods)andtheseaffectsneedto

beembodiedbyaperformer,thentheyshouldalsobeamenabletoperformativeanalysis.

Linguist and semiotician Per Aage Brandt (Brandt, 2009, p. 35) plots the relations onto amusical

contextviaasemioticschema407(seeFig.13.4).

Figure13.4.Semioticrelationsinamusicalcontext(Brandt,2009,p.35).

407Brandtusesthesemiotictermsicon,symbolandindextorefertotherelationbetweensound,gesture,stateofmindandfeelingofpresence.Itisnotnecessarytoelaborateonthespecificsemanticsoftheterms.Itsufficestobeaware that:1/ ‘icons’are signs thathavea resemblance to theirobject (photos,painting);2/ ‘indices’alwayspoint,reference,orsuggestsomethingelse(smokeisanindexoffire);and3/asymbolicsignisassignedarbitrarilyorisacceptedassocietalconvention;therefore,therelationshipbetweenthesymbolanditsobjectneedtobelearned.

Musicplayed

Gesture

Stateofmind

Feelingofpresence

Auditive

Styleofgesture

Mind

icon

symbol

index

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AccordingtoBrandt,inmusic,therhythmicandmelodiccontoursthatcanbeheardsuggestabody

making analogue gestures. Here, the auditive form structurally resembles and signifies the bodily

gesture,evenifthemovementisnotactuallyshown,butonlyplayedandheardinmusicalsound.The

ideaofbodilygesturinginsoundinturnsignifiesapersoninacorrespondingstateofmindandemotive

movement. Since this affective meaning related to a particular state of mind occurs at the very

momentofhearingthemusic,itwillultimatelyyieldtothosewhoareasharingthemusicalexperience

afeelingofthepresenceofthatmusician.Ultimately,musiccommunicates(embodied)statesofmind

(Juslin,2013b,p.1).

Stern’snotionof‘vitality’(see13.2.5)isonethatiscurrentlynotembeddedinmusicaldiscoursebut

comesclosethenotionof‘statesofmind’and,inourview,holdsthepotentialtobypassthecomplex

anddifferentialsemanticsthatareattachedtoemotion,affect,feelingandmood.Asanelementthat

can be intersubjectively shared, vitality strongly resonates with inspired action and the essential

requirement of music as ‘happening’ without being specific on the content of what exactly is

happening.Assuch,vitalityreferstodifferentstatesofmindaswellintermsofitsimmanentstructure

aswellasinthewaysinwhichstatesofmindleadtobehaviour.Moreover,andatleastaccordingto

Langer,KivyandStern[seeIUs3to5inthischapter],thesestatesofvitality–beitinstructure,gesture

orcontour–constitutetheessenceofmusicalmeaningasthesharingofstatesanddevelopmentsof

vitality.

If‘vitality’isintroducedtotheattractor-frameworkpresentedinChapter11,wecanfurtherobserve

that, although affect and emotion are only explicitly present in two of the sub-attractors of

‘interaction’ (‘affect regulation’ and ‘expression’), states of vitality are a necessary and grounding

element in all sub-attractors.Mimesis and the use of actionmetaphor inmusic requires either a

representationofthevitalqualitiespresentinalivingorganismoranevent,orofthevitalexperience

thatisinvolvedinundergoing,observingandexploringenvironmentsthatareofastaticnature.The

same necessary implication applies to the elements of entrainment, joined attention and diegesis

whichareallactivitiesthatallinvolveaparticularstateof(embodied)mindorofvitality.

Relatingtheseperspectivestoaninterestindevelopingabio-culturallyinformedtoolforperformative

analysis,basedontheprocessofinteraction,wecanconsiderstatesofvitalityasapivotalandcentral

entity. As alreadypointedout in 13.1, the field of analysis traditionally focuses on four objects of

enquiry:1/thescoreasdescriptive,prescriptiveandexpressivesymbolofasonicenvironment;2/the

soundofmusicasphysicalentity thatcanbestudied intermsofexpressivemicrostructure;3/the

listener’sexperience;and4/themovements,bodiesandgesturesofmusiciansthataccountforthe

visualaspectofperformance.ExtendingBrandt’sschema(Fig.13.4)tocomposedmusicwecansee

howtheseelementsrelatetoeachotherandcanbeanalysedintermsofthescore,theauditivesignal,

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themusicalgesturesand the listener’sexperience (seeFig.13.5).What ismissing fromthis list isa

systematicanalyticalinterestinstatesofmindorstatesofvitalityoftheperformer.Suchananalytical

perspectivewouldopenanew,alternativeandphenomenology-orientedperspective.

Figure13.5.Elementsofanalysis:score,sound,gesture,listener’sexperienceandstatesofvitality.

EducationalpsychologistRolandPerssonhasreportedonperformers’self-inductiontoalteredstates

ofawarenessandhowmusiciansveryconsciouslymanipulatedrecallofcertainmemoriesinorderto

‘get into the mood’ (Persson, 2001, pp. 281–283). These induction strategies seem to be mostly

developing intuitivelyasaresultofemotion-evokingstructures inherent inthemusic.Perssonalso

notesthatperformanceteachersneverdiscusssuchinductionproceduresduringlessons,whichmakes

itfeasibletoproposethatmasteringthemismainlyapersonalandintuitivematter.

Suchanintuition-basedstateofaffairscreatesopportunitiesforfurtherreflectingonthedevelopment

ofanexperience-based,systematicandinteraction-orientedtoolforperformativeanalysis.

13.3.4 Auniverseofbio-topicsasunitsofanalysis

Theframeworkprovidedbytopicalanalysis[IU7]hastwoinherentlimitations.Firstly,itisrestricted

tomusicofthe18thcenturyandsecondly,thetopicsthatarebeingselectedareintrinsicallycultural:

theiroriginsaretobesituatedinothercompositions.Fromtheperspectiveofbio-culturallyinformed

performativeanalysis thequestionarises if thesecultural topicsareamenable tobeconsideredas

particularisationsofmorefundamentalanduniversaldispositionsandifthemodelofanalysiscould

serveasatemplateforwhatcouldbecalledabio-topicalanalysis;ananalysisthatisnotintendedto

locateculturaltopicsinascore,butratherbio-topicsorunitsofaperformer’sexperienceandvitality

whileplayingapiece.

A lookatthecharacterisingdescriptionsthatareprovidedbyRatner(seeAppendix15)showsthat

eachcultural topic isexpressedbyoneoracombinationofvitalitystatesorcontours: thetopicof

Musicplayed

Gesture

StatesofVitality

Feelingofpresence

Auditive

Styleofgesture

Mind

icon

symbol

index

score

Descriptive symbol

Prescriptive symbol

Expressivesymbol

Listener’sexperience

370

minuetforinstanceisrelatedtothevitalitystates‘elegant’,‘noble’,‘charming’,‘lively’;thetopicof

polonaiseimpliesthequalities‘serious’and‘deliberate’.

Performersdonotnecessarilyneed to relyC.P.E.Bach’sadvisewith regard to theembodimentof

affecttorealisethatwhileplayingapieceofmusic,thesoundandmicro-structuresthatareproduced

areanticipatedby,andembeddedinadynamicalflowofenergiesandvitalities.Whenthiselementis

lacking, the performance will often be dull, non-stimulating and with only little interactional

affordance.

Duringtheacademicyear2016-2017,auniverseoffrequentlyencounteredbio-topicswasassembled

whileplayinganddiscussingavarietyofrepertoirewithpiano-studentsoftheStedelijkConservatorium

Brugge[Belgium];thecompositionsincludeearlystagepiecesandmoreelaboratecompositionsfrom

thecanonicalrepertoire.InFig.13.6,thesebio-topicsarelistedandinFig.13.7theyaretopologically

linkedtothesixmodesofinteractionpresentintheattractor-model(see11.3.2.2).

Thedialoguebetweenhands-onexperienceandthetheoreticalreference-frameworkconcerningthe

modesofinteraction,turnedouttobeasourceofinspirationingeneratingsuchbio-topics.Reflecting

onbio-topicalelementsofdiegesis fromanabstractperspective, for instance, ledtothetop-down

formulationofbio-topicssuchas‘asenseofbeginning’and‘asenseofending’,statesofvitalitythat

wouldprobablyhavestayedhiddeninunconsciousintuitionwithoutthesystematicroadmaprelated

tothesixinteractionalmodes.

InNotesfromthePianist’sBench,Bermanclaimsthat“theperformer’screativityliesprincipallyinthe

areaofmusicalexpressioninfindingtherightfeeling[…]theperformer’sfreedomshouldneverbe

denied;rather,itmustbedefined”(Berman,2000,p.139).Theframeworkofbio-topicsdoesexactly

whatBermanproposes:itfocusesinananalyticalwayonperformativefeelingandsystemizesitviaa

universeofbio-topicsandthesixmodesofinteractiontowhichtheseembodiedstatesofvitalitycan

berelated.

371

Figure13.6.TheUniverseofBio-topic(aselection).

1. Asenseofbeginning

2. Asenseofending

3. Asenseofclosure

4. Asenseofquestioning

5. Asenseofstory-telling

6. Asenseoftime(flashback– flashforward)

7. Asenseofpause

8. Asenseofchange

9. Asenseofsurprise

10. Asenseofcontrast

11. Asenseofplot

12. Asenseofbecominganorganism,persona,event

13. Asenseofbeing inaparticularenvironment,

landscapeorhabitat

14. Asenseofseason(summer, winter, spring, fall)

15. Asenseoftimeofday(morning, noon, evening)

16. Asenseofspace(high, low,deep,close,faraway)

17. Asenseofharmony

18. Asenseoflight– dark– shadow

19. Asenseofmovement

20. Asenseofflow

21. Asenseofsuddenstop

22. Asenseofspeed(fast,slow,accelerating,slowing

down)

23. Asenseofascending/descending

24. Asenseoffluttering

25. Asenseofsilence/quietness

26. Asenseofsinging

27. Asenseofbreathing

28. Asenseofexpanding

29. Asenseofdialogue

30. Asenseoffloating

31. Asenseofbeingopen– closed

32. Asenseofbeingbig, small

33. Asenseofpower– weakness

34. Asenseoffullness– emptiness

35. Asenseofbeingstatic– dynamic

36. Asenseofobserving (environment, event,persona)

37. Asenseofrecognizing/remembering

38. Asenseoflistening

39. Asenseofnoticing ‘specialmoments’

40. Asenseofbeinggenerous,happy, sad,lively,angry,

tender

41. Asenseofexpectation,hope,ambition realisation,

disappointment

42. Asenseofelegance

43. Asenseofsimplicity

44. Asenseofenergy

45. Asenseofexcitement

46. Asenseoffeelingcomfortable

47. Asenseofinsecurity

48. Asenseofbeingcautious

49. Asenseofvulnerability

50. Asenseoffreedom– constraint

51. Asenseoftension

52. Asenseofliberation

53. Asenseofdaydreaming

54. Asenseofrelief

55. Asenseofwalking, running

56. Asenseofdancing

57. Asenseofvitalizing

58. Asenseofsoothing

59. Asenseofsharing

60. Asenseofcontouring

61. Asenseofgesturing

62. Asenseofsuspension

63. Asenseofaskingforattention

64. Asenseofvarying

65. Asenseofimprovising

66. Asenseofplayfulness

67. Asenseofvirtuosity

68. Asenseofsolidarity (homophony, homorythmy,

choral)

69. Asenseofbeingcapricious

70. Asenseofmeandering

372

Figure13.7.TheUniverseofBio-topicplottedintermsofthesixmodesofinteraction.

DIEGESISAsense ofbeginningAsense ofendingAsense ofclosureAsense ofquestioningAsense ofspeaking,narratingAsense ofpauseAsense oftimeAsense ofchangeAsense ofsurpriseAsense ofcontrastAsense ofplot

MIMESISAsense ofbecominganorganism,persona,event

Asense ofbeinginaparticularenvironment,landscapeorhabitat

Asense ofseason (summer,winter,spring,fall)Asense oftimeofday(morning,noon,evening)

Asense ofspace(high,low,deep,close,faraway)Asense ofharmony

Asense oflight–dark– shadowAsense ofmovement

Asense offlowAsense ofsuddenstop

Asense ofspeed (fast,slow,accelerating,slowingdown)

Asense ofascending/descendingAsense offluttering

Asense ofsilence/quietnessAsense ofsinging

Asense ofbreathingAsense ofexpandingAsense ofdialogueAsense offloating

Asense ofbeingopen– closedAsense ofbeingbig,small

Asense ofpower– weaknessAsense offullness– emptiness

Asense ofbeingstatic– dynamic

JOINTATTENTIONAsenseofobserving(environment,

event,persona)Asenseofrecognizing/remembering

AsenseoflisteningAsenseofnoticing ‘specialmoments’

SELF-EXPRESSIONAsenseofbeinggenerous,happy,sad,lively,angry,tenderAsenseofexpectation, hope,ambition, realisation, disappointmentAsenseofeleganceAsenseofsimplicityAsenseofenergyAsenseofexcitementAsenseoffeelingcomfortableAsenseofinsecurityAsenseofbeingcautiousAsenseoffreedom– constraintAsenseoftensionAsenseofliberationAsenseofrelief

ENTRAINMENTAsense ofwalking,running

Asense ofdancing

AFFECTREGULATIONandATTUNEMENT

Asenseofvitalizing/wakingupsb.

AsenseofsoothingAsenseofsharing

AsenseofcontouringAsenseofgesturingAsenseofsuspensionAsenseofaskingfor

attentionAsenseofvarying

AsenseofimprovisingAsenseofplayfulnessAsenseofvirtuosityAsenseofsolidarity

(homophony, homorythmy,choral)

AsenseofbeingcapriciousAsenseofmeandering

373

13.4 Reproduction:InteractionalandBio-topicalPerformativeAnalysis

TheelementspresentedinSection13.2anddiscussedinSection13.3aresummarizedintermsoftheir

impact in Fig. 13.8 and assembledwithin the attractor-framework ofmusical interaction (see Fig.

11.10)inFig.13.9.

Figure13.8IUsimpactingonpracticalunderstandingsregardinginteractionandperformativeanalysis.

ThefirstthreecolumnsofFig.13.9containprimaryindicatorsofinteractionandallow,basedonthe

characteristicsofacomposition,foraninteractiveanalysisviaanexplorationoftheimmanentstreams

ofinteraction(three-streamhypothesis),thefocalelementsofperformance(monadic,dyadic,triadic,

quadrative) and the performative modes of interaction (self-expression, affect regulation &

attunement,entrainment,jointattention,affectiveresponse,mimesisanddiegesis).Column4refers

tothemusicalmeanswhichareinvolvedinmusicallymediatingtheseprimaryindicatorsandcolumn

5listswaysbywhichaperformercancontrolthesemeans.Thelastcolumndenotesaselectionofbio-

topicsorstatesofvitalitywhichareexperiencedbyaperformerintheactofperformanceandwhich

areconsideredtobethebasicelementsofacommunicativemusicality.

The informalreproductionoftherecontextualised informationdiscussedaboveandsummarized in

Fig.13.9canbeachievedbyusingtermssuchasvitality,entrainmentandmodesofinteractionina

practicalanddidacticdiscourse,andcreateanawarenessoftheroleandimpactofbio-topics.Within

IU Domain Keyterms Impactonperformativeanalysis

1 Cognitivescience Threestreams(gesture,grove,form),perceptualgrouping

Systematicandthree-partreductionofacomplexphenomenon;perceptualgroupingasanextraelementtotakeintoconsideration.

2 Literarycriticism Fourfociinliteraryanalysis(author,audience,work,universe)

Systematicreduction+linkswithdevelopmentalprocessesofinteraction.

3 Philosophyofculture

Artasthepresentationoffeeling Foregroundingtherelationbetweenmusicandaffect.

4 Analyticalphilospohy

Universalcontoursinperception,style-dependentconventions

Supportiveofabio-culturalapproach.

5 Psycho-analysis,developmentalpsychology

Vitality-affets,-contours Introducingtheconceptofvitalityasanattractorinthecontextofmusicalmeaning.

6 Linguistics,philosophy

Embodiedsemantics Situatingmusicalmeaninginthecontextofthebody(both,theperformer’sandlistener’sbody).

7 Musicology Culturalandstyle-specificmusicaltopics

Classificationandidentifactioninanalysis.

374

Figure13.9.Elementsofmusicalinteraction.

suchaninformalcontext,aphorismssuchas‘thegesturesandtonesofmusicsurfonstatesandwaves

ofvitality’canbealeadingmotifindiscussingandassessingmusicalperformance.

However,theinteractiveframeworkalsoallowsforamoresystematicandformalanalyticaltreatment.

Here, the concept of an Interactive andBio-topical Performative Analysis is presented as the bio-

culturalpenchantof‘topicalanalysis’asdevelopedbyRatnerinClassicMusic(1980):itisconcerned

Primaryindicatorsofinteraction Musicalmeans

ofinteraction

Performative

control

Statesofvitality

Bio-topics

(aselection)

Threeimmanentstreamsofinteraction

Fourfocalelementsofperformance

PerformativeModesofinteraction

Stream1:

Gestural

Melodic

Stream2:

‘Groove’

Meter

Rhythm

Stream3:

Form

Architectonics

MonadicPerformer

Self-expression(feelings&moods)

Contouring

Gesturing

Phrasing

Action-

metaphor

Pulsing

Mechanicsof

narration

(rhetorics)

Listening

Timing

Dynamics

Articulation

Tempo

(Tuning)

(Vibrato)

AsenseofbeginningAsenseofendingAsenseofchangeAsenseofsurpriseAsenseofbeingsurprisedAsenseofbecomingAsenseofsingingAsenseofbeingsomewhereAsenseofspaceAsenseofmovementAsenseofphrasingAsenseofflowAsenseofarrestAsenseofsilenceAsenseofbreathingAsenseofexpanding–contractingAsenseofbeingstatic–dynamicAsenseofrecognizingAsenseoflisteningAsenseofnoticingAsenseofbeinggenerous,happy,sad,lively,angry,tenderAsenseofexpectationAsenseofrealisationAsenseofexcitementAsenseoffreedomAsenseoftensionAsenseofdancingAsenseofsharingAsenseofplay

DyadicPerformerAudience

(Affect)regulation

(Affect)attunement

Entrainment

TriadicPerformerAudienceWork

JointAttention

Affectiveresponse

QuadraticPerformerAudienceWork‘Universe’

Mimesis(presentation)

Diegesis(representationofatemporaldevelopment)

375

withpunctuallyidentifyingandassessingvitality-archetypesthatpresentthemselvesinperforminga

pieceofmusic.Sincethesebio-topicsarenotreadilyobservable(asgesturesandsoundsare),thistype

of analysis can only be carried out by performers who are practicing or performing a particular

composition.

Bio-topicalperformativeanalysisallowsforvariouslevelsofcomplexityandsystematization.Atabasic

level,itestablishesanawarenessofcertainbasicsensesofvitalitythatarealreadyinformallypresent

in most personal theories; these senses can be further extended by getting acquainted with the

extendedlistofbio-topicsinFig.13.6.Thesamemulti-levelapproachappliestodiscussingtheprimary

performanceindicatorsofinteraction(seeFig.13.9columns1-3)whichdialoguewiththebio-topical

analysis.

From a more formal systematic perspective, four phases are proposed to be included in an

InteractionalandBio-topicalPerformativeAnalysis.

1. Assessingmusical interactionvia thethreestreamsofmusical interaction (gesture,groove,

architecture).

2. Reflectingonthefociofperformance(monadic,dyadic,triadic,quadratic)andassessinghow

theyapplytoaconcretecontext.

3. Furtherrefiningthefociofperformance intermsofmodesofinteraction(expression,affect

regulation & attunement, entrainment, joined attention & shared intentionality, mimesis,

diegesis).

4. Reflectingonthebio-topicsthatcouldbeattributedtoparticular instancesandvitalisethe

sonicenvironment.

Takingthesephasesintoaccount,thefollowingapproachtoInteractionalandBio-topicalPerformative

Analysisisproposed:

InteractionalandBio-topicalPerformativeAnalysisisconcernedwithidentifyingaffordancesfor

musicalinteractionandcommunicativemusicalityinamusicalscore,andwithreflectingonthe

embodiedstatesofvitality(bio-topics)ofaperformerthatareinvolvedincreatinganexperience

affordingsonicenvironment.

Definition8:InteractionalandBio-topicalPerformativeAnalysis.

376

13.5 Casestudy:AnInteractionalandBio-topicalPerformativeAnalysisoftheChopin

Mazurkaop.67nr.4

AsanillustrationofhowInteractionalandBio-topicalPerformativeAnalysiscouldlooklikeinconcrete

circumstances,wenowturntoChopin’sMazurkaop.67nr.4andadopttheanalyticalphasesproposed

in13.4.408

13.5.1 Interactionalanalysis–primaryindicators

13.5.1.1 Theimmanentstreamsofinteraction:balancingthethreestreams

PiecessuchastheMazurka’sareprominentcasestudiestoassesstheoperationalisationofathree-

streamapproachtomusic.TheconcerninperformingpiecessuchastheMazurkaismostlydirected

atfindingabalancebetweenthethreestreams,i.e.theelementofmetricentrainment,themelodic

gestures and the overall development of the piece. The issue becomes more complicated when

realizingthat,accordingtotheoriginaldancestyleat least,thereshouldbeanaccentuationofthe

weakbeats.Takingintoaccountthatregularmetreallowsforabasicengagementandsynchronicity

withthemusicandthattempostabilityisoneofthecrucialenvironmentalinvariants409,compromising

thesefactorsareelementsthatcouldpotentiallyweakeninteractiveentrainment.Ifweaddthefactor

rubato,whichiscloselyconnectedtothegesturalstream,thenwehavealreadytwoelementsthat

could easily destabilise the performance; ‘sacrificing’ both the elements of easy and predictable

engagementcanpotentiallyresultindecreasinginteractivequality.

Masteringthebalancebetweentheseparametersisadauntingtaskthatlikelyculminatesinastage

ofsurrenderandtheexplorationofalternativerepertoirewhenastudenthasno‘innate’orotherwise

acquiredfeelingforthisparticulargenre.Ofcourse,thereisnotonewayofapproachingachallenge,

especially in instrumental didactics.410 The framework of the immanent streams of interaction,

408SelectingaChopinMazurkaforthiscasestudyisrelatedto:1/theprominenceofmazurka’sintheanalyticalliterature (Cook,2007;Ohriner,2014);2/ thebrevityof thepiece;and3/ itsvalue in introducingearly-stagepianiststoChopin’swork.409 In Ecological Psychology the elementsof a relatively permanent, yet ever-transforming environment, arecalled‘invariants’andtwotypesarediscerned:1/transformationalinvariantsarethoserelationalaspectsoftheinformationthatspecifytheidentityofaparticularpatternofchange.Wheneverapianistplays,(s)heproducesa range of sounds (dynamically and qua pitch) that are distinguishable from sounds generated on otherinstruments;and2/structuralinvariants,ontheotherhand,arerelationalpropertiesspecifictothestructureofthesourceobjectundergoingaparticularstyleofchange.Themechanicalpropertiesofapiano,oreventhepianist’stoucher,correspondtotheinvariantstructuralfeaturesoftoneproductiononapiano.Withinamusicalcontext,tempo,canbeconsideredbothasastructural(onetempo)andtransformational(ritardando,ritenuto)invariant.410Anothernon-verbalandanalogueapproachtoberecommendedwouldcertainlybetheSilentPianoTechniqueasbrieflyindicatedinSection12.3.

377

however,canbeafirstreferenceinapproachingandassessingacodedsonicenvironmentandcreate

awarenessofthemulti-layeredpresenceofinteractivecomponentsinthismusic.

13.5.1.2 Focalelementsofperformanceandmodesofinteraction

AfurtherelementofaninteractionalanalysisistoexplorehowtheMazurkaallowsfortheadoption

andintegrationofdifferentfocalelementsandmodesofinteraction.

Fromamonadicpointofview,theMazurkacouldfunctionasametaphorforasenseofself-possessed

andpersonallyfeltfreedomandenjoymentexpressedintheformofaminiature(theMazurkaisan

elegantand rather shortpiece). Suchaperspectivecouldoccasionan intimateand inward-looking

renditionof thepiecewithamodestdynamicrange,anticipatorymicro-timing,subtlemomentsof

change,andaratheruniformaffectivestyleandtemperament411;however,the‘forte’thatisindicated

at the beginning of the Chopin manuscript dating from 1848 (Chopin 1953/2015, pp 152-153) is

suggestiveofamorepassionaterenderingwithgreatemotionsandlargeromanticgestures.Looking

atconcreteinstancessuchastheopeningofthepiece,itcanbeinferredthatamonadicstancewill

occasion an anticipated E, followedby a powerful placedbass note in the left handand a stormy

continutationintherighthand.Arecordingofthefirst33barsoftheMazurkainamonadicstyleina

rendition of the author can be seen at https://vimeo.com/231298237 [Password: JoostPhD]. An

exampleofamonadicapproachisarecordingbyDénesVárjon(92ndStreetY,2009)412.

Adoptinganeffect-oriented,rhetoricalanddyadicstance,theperformercanprefertoopenwitha

firstnotethatgrabstheattentionofthelistener413andcomesasasurprise.Inthisscenario,thefirst

lefthandnoteiscrucialforinstigatingastrongfeelofentrainmentandwouldthereforedemonstrate

anenergetic‘bounce’;theplayfulcontoursintherighthandwillbeusedtoholdattentionandadd

emphasesinarhetoricalwayandthegeneraldescentthatcharacterizesthecontoursinA1willafford

asoothingattunement.Elementsofchange,suchasforinstanceinB1,canpotentiallybeupgradedto

acontrastingeffect.Arecordingofthefirst33barsoftheMazurkainadyadic,entrainment-oriented

style in a rendition of the author can be viewed at https://vimeo.com/231297883 [Password:

JoostPhD].AnexampleofadyadicapproachisRubenstein’srecording(ArRubMusic,2009)414.

411“Affectivestylereferstorelativelystabledispositionsthatbiasanindividualtowardperceivingandrespondingtopeopleandobjectswithaparticularemotionalquality,emotionaldimension,ormood.Temperamentreferstoparticularaffectivestylesthatareapparentearlyinlife,andthusmaybedeterminedbygeneticfactors”(R.J.Davidson,Scherer,&Goldsmith,2003,p.xiii).412https://www.youtube.com/watch?v=AcxZRI6aews.413IntheposthumousFontanaEdition(Chopin,1953/2015,pp.150-151)anemphasisisaddedtothefirstnote‘<’.414https://www.youtube.com/watch?v=AcxZRI6aews.

378

From a triadic perspective, the role of the performer is one of revealing and illuminating the

compositionasanautonomousenvironment thatneedsperformativeguidance. Sucha stancewill

implycarefulfollowingthemelodiccontoursandpayingattentionto‘special’momentsandinvariants.

Such ‘special moments’ include elements such as the highest note [B26], the lowest note [B9],

harmonicvariants[B4],modulatoryevents[C1],andchromaticcontouring[B14-15].

Fromaquadraticpointofview,theMazurkacanbeconsideredasapresentationofasuccessionof

events(mimesis)orasarepresentationofthoseevents(diegesis).Inthecaseofaquadratic-mimetic

perspective,theMazurkaisconsideredtobethepresentationofasuccessionofeventswhereit

couldbeimaginedthatoneormorescenesconcernapersona(oranotherorganism)whomovesand

behaves‘Mazurka-like’inaspace.Suchaviewpointcanemphasizethegesturalcontoursthatgo

alongwiththedancingandwillconsiderthemacro-structuralchangesasachangeofscenery,

involvinganotherspaceandpotentiallyotherpersonae.Anotherpossibilityistoadoptaperspective

inwhichthemelodiccontoursrefertothestructureofexperienceofapersonaandthatthemacro-

structuralchangesrefertochangesinthestateofmind;withinsuchacontextC1couldberelatedto

astateofdaydreamingforinstance.theroleoftheperformeriseithertobecomethatperson(orto

observehim/her)ororganismandexperiencethevitalityofmovementanddancingortotakethe

stanceofanobserverwhoassessesandlivesthestateofmindofapersonaempathically.Inthe

lattercase,theperformancewillbelessvividandevokeamorematuredanddistancedexperience.

ArecordingoftheMazurkainaquadratic-mimeticstyleinarenditionoftheauthorcanbeconsulted

athttps://vimeo.com/231296869[password:JoostPhD].Anexampleofaquadratic-mimetic

approachisEvgenyKissin’srecordingofthepiece(KEUDER,2008)415.

Such an imaginative quadratic-mimetic and observational perspective comes close to a quadratic-

diegeticviewpointwhichislikelytoengenderanevenmoredetachedrepresentationandnarrative

stance.With adjoining support of themonadic, dyadic and triadic elements, themacro-structural

elementsof theenvironmentnowbecometheprimary focusofattentionaswellasanunderlying

senseofserenestory-telling.Anobservationalstanceimpliesreflection,invitingalessvividrendition

thanamimeticperspective.Theopeningofthepiecewillsoundasaninvitationtolistenverymuchas

“once upon a time…”, and the phrasing will be concerned with following the contours that are

characteristic of telling a story (such as beginning and ending a phrase/story, breathing between

phrases,pausing).

Arbitratingbetweenorintegratingperformativestancesandmodesofinteractionisnotamatterof

truth-findingbutoneofassessment,flexibility,ofcreatingoptionsandpragmaticaffordances;itallows

415https://www.youtube.com/watch?v=qgOzDDPlFjI.

379

theperformertoreflectonone’sownexperienceandtogobeyondfirstintuitionsandperformative

habitsbysystematicallyexploringtheaffordancesprovidedbythecodedenvironment(thescore)ina

stimulatingfashion.

Oneoutcomeofsuchdeliberation–themostappealingoneintheauthor’sview–couldbetoadopt

primarilyaquadratic-mimeticapproachwhereapersona,adancer ispresentedandobservedwho

expressesher/hisjoyousandelegantstateofmindandthedevelopmentofthatvitalitythroughout

themacro-structuralentities,supportedbythegesturalandentrainingcharacteristicsofaMazurka.

Withinsuchaquadratic-mimeticframework,monadic,dyadicandtriadicelementscanbecalledupon

tosupportamorecaptivatinginteractionalexperience.

13.5.2 Assigningbio-topics

Theassignmentandconsiderationofbio-topicsisthelastphaseofanalysisandimpliesareflectionon

thefundamentalstatesof(embodied)mindthatarerequiredandprecedethegesturalanddynamic

contoursthatarethenfurtherspecifiedintermsofmicro-timing,articulation,tempoanddynamics.

Taking a quadratic-mimetic stance as a primary interactional focus, a suggestion for bio-topics in

Chopin’sMazurkaop.67nr.4isindicatedinFig.13.10-11anddiscursivelycommentedonbelow.

• ‘A sense of play’, ‘a sense of enjoyment’ and ‘a sense of freedom’: the tempo indicationallegrettowhichisusuallydefinedas‘slightlylessfastthanallegro’(Randel,2003)refersfromabio-topicalpointofviewtotheavailabilityoftimethatmakesonefeelateaseandallowsforelegantplay.Thesenseofplaywhichisimpliedinthetempoindicationisalsopresentinthetypeofcontouring thatChopinchooses, thevividuseof thrills, ‘thesenseofvariationandfreedom’inA2,andthewayinwhichentrainmentdevelopsfrom‘asenseofhypermeasured416andsuspendeddancing’into‘asenseofmeasuredwaltzing’inB1.Asalreadymentioned,thesenseofdance-inducedentrainmentisofaspecialkind,itcombinescyclicentrainmentwith‘asenseofmazurkiansuspension’.

• ‘Asenseofbeginning’,‘asenseofcontouring’,‘asenseofending’:intherighthandthesebio-topics relate to the gestural behaviour of an imagineddancer (persona) and following thedelicatecontoursofthemelodicline,‘asenseofelegance’canbeattributedtothesegestures.The ‘sense of ending’ is varied in theMazurka: the eight-bar phrases suggest inconclusiveendingsthatelegantlypassoverintothebeginningofthenextphrase;suchamodusoperandifits well the ‘sense of elegance’ thatmarks the piece; even the last bar lacks ‘a sense ofconclusion’andkeepsthejoyfulyetmelancholicfeelingintheair.

• ‘A sense of change’: the structural changes in the piece can be interpreted either of anexperientialorenvironmentalnature.InsectionB1itisnotsomuchachangeofscenerybut

416A‘hypermeasure’isaunitinwhicheachregularmeasureisonebeatofalargermeter;inthiscase,themeterof3/4cantemporarilyevolveintoa6/4meter.Theoppositephenomenonof‘hypomeasure’occurswhenabeatwithameterevolvesintoameasureansich;hypomeasureimplies‘asenseofslowingdown’andcanbeusedinconcludingapiece.

380

ratheroneofvitality,evolvingfromadescendinglineand‘asenseofplay’intoanascendinglineanda‘asenseofcautiousness’.The‘senseofchange’inC1ismoredrastic;animportantinvariant,thekey,ismodified;thisintuitivelyevokesachangeofscenery(eitherinnaturalorinmentalenvironment).Moreover,thisparticularsectionhasnotupbeatandverydiscretemetricalsupport.Thispassusmaybeexperiencedasafocalshift,amovefromaquadratic-mimetictoaquadratic-diegeticperspectivethatdoesnotpresentbutratherrepresentsanewdream-likesituation.

• The sense of change in B21 is of amore subtle nature: the ascending line evolves into aharmoniouslysupporteddescendinglineandevokes‘asenseofcomfortandrelief’.

• ‘Asenseofheight’,‘asenseofdepth’:theselociimplyelementsofthetriadicfocuswhichisalso inherent to the composition. They can be considered as ‘special moments’ and beimplicitlyshownbymeansoftiming,anticipatedarticulationanddynamics.

381

Figure13.10.ChopinMazurkaop.67nr.4,page1417.

417 The score used for this example is based on an open-domain edition (Chopin, 1880)with corrections asindicatedintheautographfrom1848(Chopin,2015,pp.152-153).

382

Figure13.8.ChopinMazurkaop.67nr.4,page2.

13.6 Assessment

Whatwedevelopedinthischapterisananalyticaltoolandavocabularybothrootedinamodelof

interactionalmusicality and facilitating the communication and reflection on the interactional and

performativepossibilitiesthatamusicalscriptholdsinrelationtostatesofvitality(orbio-topics).The

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frameworkofthisanalysisexemplifieshowbio-culturalinformedperformershipcouldwork:itstarts

froman Image – a reservoir of personal theories andproto-typical intuitions – allowing a process

whereinextra-disciplinaryinformationimpactsonthatImageandthenpragmaticallyandcreatively

‘jumpstogether’tocometoaninformedandmoresystematicunderstanding.

Relating personal experience to an informed and systemic framework forms a dialogical win-win

situation:fromtheconceptualframework–whichinthiscaseincludesinteractionalstreams,various

focalelementsofperformanceandmodesofinteractionandmusicaldevices–environment-related

bio-topicscanbegeneratedthatareinformativetointuition-basedperformanceandviceversa;from

playingthemusicnewinsightscanbeinferredwithregardtoasystematicintegrationofauniverseof

interactionalandbio-topicalpossibilities.

Because InteractionalandBio-topicalPerformativeAnalysis is informedbyamulti-layeredrangeof

information units and is embedded in a broader bio-culturally framework, it allows for further

expansion and critical review of its tenets. Rather than an opinion or dogma, it is an assembled

structureof recontextualized information tobesharedanddiscussedamongmusicians inorder to

cometointra-practicalandtransdisciplinarydialogueandcreativity.

Fromafunctionalpointofview,beingabletodiscursivelycommunicateaboutandreflectonashared

intentional object (a coded or sonic environment) by means of a systematic framework, offers

opportunitiesbothforaspirantperformersandprofessionals.

Formusiciansintheearlystagesoftheirformation,InteractionalandBio-topicalPerformativeAnalysis

can open doors towards a differentiated, experience-based understanding of repertoire and the

performativepossibilitiesthattheyafford.Inadditiontodeeplearning,InteractionalandBio-topical

Performative Analysis allows for the development of a repertoire of differentiated interactional

instrumentsandvitalities.Ratherthanseeing instrumentaldidactics focusondeveloping inastep-

wise manner a sequence of technical aspects, a bio-topical perspective can offer new didactical

possibilitiesinmakingpianists,intheearlystagesoftheirengagementwiththeinstrument,awareof

primarybio-topicssuchas‘asenseofbeginning’,‘asenseofending’,‘asenseofenjoying’,‘asenseof

recognizing’ (in early ABA-forms) and gradually and comparatively exploring the more extended

universeofbio-topics.

The complexity, ambiguity and nuancedway inwhich bio-topics develop in notatedmusic can be

consideredinamoregenericsenseasalaboratoryforhumandevelopmentandexperience,andcould

wellbethelocationwherethetreasureandvalueofWesternArtMusicineducationandsocietyisto

besituated.

For theprofessional,bio-topicalanalysispresentsanopportunity toextendandbetterunderstand

one’spersonalrepertoireofexpressiveandinteractionaltools.Comparingittothetechnicalbaggage

thatcanbeattributedasasignaturetoprofessionalmusicians,performersareabletodeveloptheir

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ownsignaturerepertoirefromthereservoirofbio-topics.Insuchacontext,thepoolofbio-topicsisa

dynamicinstrumentthatcontinuouslyassessesnewrepertorialapplications.