By George A Kochevitsky
Such a lot of of the good pianists and lecturers have pop out of Poland and Russia (Rubinstein, Anton in addition to Arthur, Leschetizky, Paderewski, the Lhevinnes, Gilels, Richter, and others), but we all know little approximately their equipment of studying and instructing. George Kochevitsky within the artwork of Piano taking part in offers a few very important resources of data formerly unavailable during this kingdom. Russian resources by myself occupy 4 columns of his bibliography on 'History and conception of Pianism.' also there are six columns of German assets and 7 columns of resources in English. From those resources, tempered through this personal pondering, Kochevitsky has formulated a systematic technique which could resolve so much difficulties of piano enjoying and instructing. George Kochevitsky graduated in 1930 from Leningrad Conservatory and did post-graduate paintings at Moscow Conservatory. Coming to the united states, he has taught privately in big apple urban, given a few lectures, and written for varied tune periodicals.
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Extra resources for Art of Piano Playing: A scientific approach
Our rational selves know (or should know) that the singer may be none of these things. Indeed, a performer who sang these three songs in succession simply could not go through such a sequence of emotional ups and downs and still complete the songs. Clearly there are elements of acting in singing, even in singing that is not a part of a musical drama. Singers may express emotions they do not actually feel, and they may be compelled, in singing a song, to adopt the perspective of narrators whose personality and values do not reﬂect their own.
Why accept Godlovitch’s account (aside from its many virtues that I cannot recount here)? As an amateur musician, the distinction between performing and other modes of playing makes a great deal of sense to me. Performance is special; there are works I can play (barely) that I don’t feel ready to perform. However, I realize that not everyone will share my intuitions and that appeals to intuition or to common usage are a risky philosophical move. Godlovitch’s “skills” requirement allows us to see the diﬀerence between singing a song (whether in front of an audience or not) and performing it.
Rather, the voice of the composer constitutes the “complete musical persona,” and the vocal persona – the protagonist of the song – is properly understood as a character quoted by the complete persona. ”18 This analysis of song meaning leads Cone to a speciﬁc understanding of song performance, one that emphasizes the importance of dramatic impersonation. ) 33 Sweet Chariot,” she recreates, as a dramatic persona, the slave who originally sang the song as an authentic appeal. An ideal or “faithful” performance is one in which the physical presence and vitality of the singer turns the persona of the musical text into an immediate living being.
Art of Piano Playing: A scientific approach by George A Kochevitsky