Relationship Between Musical Performance and Analysis (Research Paper Sample)

Argumentative Research Paper Essay
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Argumentative Research Paper Essay: Musical Performance and Analysis
The differences between musical performance and analysis may appear to overpower the points of convergence between the two activities. According to Clarke (2004), because in reality the arts of study and performance reflect two very different ways of experiencing music, there can be no sense of unity between them. However, rather than the analysts and the performers, some academics strongly juxtapose the 'composition' and 'performance' musicians, or, more precisely, music as the written form and music as the performing form (Cusick, 1994). On the other hand, important links exist between the two domains, both at a broad and more specialized level, and these links offer numerous opportunities for positive interactions. Generally speaking, each artist, analyst, or performer has a unique perspective of the relationship between analysis and performance, which is based on their knowledge, temperament, and various ways of perceiving, analyzing, and getting knowledge. On a broad level, research claims that the link between analysis and performance should be characterized as a generally equivalent correlation rather than under undeniable constraints. This is subsequently because of points like the fact that performances and analyses have a mutually beneficial arrangement, that there are a number of commonalities between how performers, commentators, and analyzers interpret music, and the fact that music analysis and performance are also regarded to have significant cultural value and their upbringing impacts the majority of people's musical tastes (Hutchinson & Howell, 2016). Followed by the point that it has been discovered that a unique way of using analysis in educational practice is very advantageous to the performer.
Significantly, the relationship between analysis and performance is a mutually beneficial arrangement: the deeply felt allure of introducing a particular work for effectiveness can sometimes prompt an eagerness to receive a greater analysis stranglehold on it, to obtain a comprehensive viewpoint on instinctual engagement (Nolan, 1993). In turn, it can often imply additional performance opportunities in a positive feedback loop. The same might also be said about composing, or even the most fundamental listening activity. Although both analysis and performance are expressive activities functioning as communicators between music and audiences, in synthesis and modern music, the idea of employing a more inventive methodology is particularly important in connection to repertoire wherein the listener instinct often does not culminate in incomprehension - when the requirements of a contemporary idiom confront our preconceptions (Howell, 1992). Therefore, learners who are unfamiliar with this classical repertoire, which might also be lacking the spontaneity of effect related to the conventional repertory, might find intellectual inquiry to be quite valuable in a conservatory of music that places a strong focus on contemporary music, including both terms of creativity and performances.
Further, there are a number of commonalities between how performers, commentators, and analyzers interpret music. Musical interpretation includes disciplines such as musical interpretation, musical performances, and musical analysis (Ritterman, 2002). They try to present listeners with accurate interpretations of musical pieces by examining artists' perceptions, experiences, and skills (Cusick, 1994). To support the claim, based on the concept of composing-out, the connection between analysis and performance logically explains how an understanding of a core artwork might influence or validate interpretative decisions. Even while analysis can be used to achieve or defend interpretive findings, the collaboration between analysis and performance is unpredictable. According to Millet & Chattah (2019), in both the past and contemporary years, performing arts dynamics has gained popularity in policy and research to describe the interconnections of establishments, performances, and social reformers that make up live music performances.
Music analysis and performance are also regarded to have significant cultural value. Their upbringing impacts the majority of people's musical tastes (Barton, 2018). Each person's reaction to a specific genre of music is strongly affected by their liking and personal taste for that music. This indicates that the music one prefers or enjoys could very well be the outcome of what they have perceived based on the musical analyses they have dealt with and an increase in exposure levels (Barton, 2018). Listening to music that one dislikes or about which one has read negative reviews might, on the other hand, cause discontent or unhappiness. Notably, analysis influences the cultural background as well as the many advantages or experiences of music with several disciplines to investigate this phenomenon further.
It has been discovered that a unique way of using analysis in educational practice is very advantageous to the performer. It allows the performer to delve into the analytical evaluations of other musical composition artists preparing for performance (Lerch et al., 2019). By accessing the analyses of other musicians, the performer dynamically gets fresh perspectives on the music and is thus exposed to compositional interpretations of the work that are not their own. This is an important aspect because any analysis and simulation can help the performer make safe artistic selections. Analysis and performance are intimately linked at a more granular level because the analysis is essential for the performer's pre-performance preparation. The criteria used by the performer to determine the character of the music require some analytical activity, whether purposeful or not (Millet & Chattah, 2019). When used as an interpretative approach, analysis helps the performer understand how to use their specific talents of representation to express and portray the music's significance. The performance of a musical composition is, in the end, the embodiment of an analytic endeavor, even if the analysis was instinctive and informal.
Generally speaking, each artist, analyst, or performer has a unique perspective of the relationship between analysis and performance, which is based on their knowledge, temperament, and various ways of perceiving, analyzing, and getting knowledge. It has proven significantly more challenging to integrate previous performance practices with the history of interpretation in musical performances by former performers and audience members. The community's decorative tastes and acoustic expectations have evolved (DeNora, 2004). Suppose the concept of historic competency or acceptability is integrated as a framework not just for performances but also for the impression on audiences. In that case, replication of previous behaviors may be negative (Davidson, 2004). All of this serves to make historical music feel extremely distant, exotic, and foreign. As a result, musicians are more enthusiastic about expressing themselves through expressive tools and resources such as rhythm, contour, intensity, tones, textures, harmonics, pronunciation, phrasing, tempo, and place (Rink, 2004). This "less-conceptual" approach to music is reflected in how musicians pe