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Orchestral Extraliteracy and the Foundations of American Musicology

出版	University of Pennsylvania, 2001
URL	http://books.google.com.hk/books?id=L4CWGwAACAAJ&hl=&source=gbs_api

註釋Chapters 3 and 4 counter the notion that ensemble members generate performance by mechanically reading notation and conducting gestures. Using the concepts of "flow" and "communitas," chapter 3 demonstrates how rehearsal affords musicians intensely satisfying and communal experience that is anything but mechanical. Chapter 4 demonstrates the essentialness of the simultaneous use of speech, spontaneous gesturing, and singing to the rehearsal process as complements to musicians' reading of notation and prepared conducting gestures. Countering the notion that printed notation provides an ample representation of the work, chapter 5 redefines the pedagogical technique of modeling as a means of musical representation that capitalizes on the communicative potential of time, three-dimensional space, and multiple perceptual modalities to elaborate a printed notation that fails to convey needed information about aural and metaphorical properties of musical sound. Chapter 6 discusses resources used by conductors to bolster their authority when facing challenges from players. Countering the image of the composer as esteemed, creative artist and intention-laden authority, chapter 6 demonstrates how conductors use and variously define the figure of the composer to channel the creativity of individual players toward the goal of homogeneous group performance.