John Rink – författare

Musicians are continually ''in the making'', tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice: instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one''s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer.Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time.Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book''s three parts focus in turn on ''Creative learning in context'', ''Creative processes'' and ''Creative dialogue and reflection''. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ''Insights'' by internationally prominent performers, performance teachers and others. Practical aids include abstracts and lists of keywords at the start of each chapter, which provide useful overviews and guidance on content.Topics addressed by individual authors include intrapersonal and interpersonal dynamics, performance experience, practice and rehearsal, ''self-regulated performing'', improvisation, self-reflection, expression, interactions between performers and audiences, assessment, and the role of academic study in performers'' development.

Underpinned by author John Rink's internationally acclaimed scholarship and experience as a musician, this book addresses fascinating topics in the field of musical performance studies concerning the history, analysis and psychology of music, as well as artistic research. It offers manifold practical insights into musical performance, ranging from detailed technical features to overall shape. The volume has four main parts, focusing on performance and performance studies, historical performance, analysis and performance, and artistic research. Case studies of romantic piano pieces appear throughout, including Liszt's 'Vallée d'Obermann', Brahms's Fantasien Op. 116, and select preludes and concertos by Rachmaninoff and Chopin. The book also includes discussions of recordings by such artists as Alfred Brendel, Artur Rubinstein and Nikita Magaloff along with some outstanding performances in the International Fryderyk Chopin Piano Competition in 2015.Rink explores issues surrounding the identity and artistic voice of the performer by elucidating the sense-making and decision-making process underlying musical performance of all kinds. He also offers broad insights into musical ontology, epistemology and semantics, in addition to demonstrating some of the methodologies now used to study performance. As a whole, the book highlights the powerful effects that experiencing music in performance can have on those who take part in it, in any capacity.

Underpinned by author John Rink's internationally acclaimed scholarship and experience as a musician, this book addresses fascinating topics in the field of musical performance studies concerning the history, analysis and psychology of music, as well as artistic research. It offers manifold practical insights into musical performance, ranging from detailed technical features to overall shape. The volume has four main parts, focusing on performance and performance studies, historical performance, analysis and performance, and artistic research. Case studies of romantic piano pieces appear throughout, including Liszt's 'Vallée d'Obermann', Brahms's Fantasien Op. 116, and select preludes and concertos by Rachmaninoff and Chopin. The book also includes discussions of recordings by such artists as Alfred Brendel, Artur Rubinstein and Nikita Magaloff along with some outstanding performances in the International Fryderyk Chopin Piano Competition in 2015.Rink explores issues surrounding the identity and artistic voice of the performer by elucidating the sense-making and decision-making process underlying musical performance of all kinds. He also offers broad insights into musical ontology, epistemology and semantics, in addition to demonstrating some of the methodologies now used to study performance. As a whole, the book highlights the powerful effects that experiencing music in performance can have on those who take part in it, in any capacity.

Underpinned by author John Rink''s internationally acclaimed scholarship and experience as a musician, this book addresses fascinating topics in the field of musical performance studies concerning the history, analysis and psychology of music, as well as artistic research. It offers manifold practical insights into musical performance, ranging from detailed technical features to overall shape. The volume has four main parts, focusing on performance and performance studies, historical performance, analysis and performance, and artistic research. Case studies of romantic piano pieces appear throughout, including Liszt''s ''Vallée d''Obermann'', Brahms''s Fantasien Op. 116, and select preludes and concertos by Rachmaninoff and Chopin. The book also includes discussions of recordings by such artists as Alfred Brendel, Artur Rubinstein and Nikita Magaloff along with some outstanding performances in the International Fryderyk Chopin Piano Competition in 2015.Rink explores issues surrounding the identity and artistic voice of the performer by elucidating the sense-making and decision-making process underlying musical performance of all kinds. He also offers broad insights into musical ontology, epistemology and semantics, in addition to demonstrating some of the methodologies now used to study performance. As a whole, the book highlights the powerful effects that experiencing music in performance can have on those who take part in it, in any capacity.

Underpinned by author John Rink''s internationally acclaimed scholarship and experience as a musician, this book addresses fascinating topics in the field of musical performance studies concerning the history, analysis and psychology of music, as well as artistic research. It offers manifold practical insights into musical performance, ranging from detailed technical features to overall shape. The volume has four main parts, focusing on performance and performance studies, historical performance, analysis and performance, and artistic research. Case studies of romantic piano pieces appear throughout, including Liszt''s ''Vallée d''Obermann'', Brahms''s Fantasien Op. 116, and select preludes and concertos by Rachmaninoff and Chopin. The book also includes discussions of recordings by such artists as Alfred Brendel, Artur Rubinstein and Nikita Magaloff along with some outstanding performances in the International Fryderyk Chopin Piano Competition in 2015.Rink explores issues surrounding the identity and artistic voice of the performer by elucidating the sense-making and decision-making process underlying musical performance of all kinds. He also offers broad insights into musical ontology, epistemology and semantics, in addition to demonstrating some of the methodologies now used to study performance. As a whole, the book highlights the powerful effects that experiencing music in performance can have on those who take part in it, in any capacity.

Musicians are continually 'in the making', tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice: instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one's musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer.Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time.Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book's three parts focus in turn on 'Creative learning in context', 'Creative processes' and 'Creative dialogue and reflection'. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten 'Insights' by internationally prominent performers, performance teachers and others. Practical aids include abstracts and lists of keywords at the start of each chapter, which provide useful overviews and guidance on content.Topics addressed by individual authors include intrapersonal and interpersonal dynamics, performance experience, practice and rehearsal, 'self-regulated performing', improvisation, self-reflection, expression, interactions between performers and audiences, assessment, and the role of academic study in performers' development.

Musicians are continually ''in the making'', tapping into their own creative resources while deriving inspiration from teachers, friends, family members and listeners. Amateur and professional performers alike tend not to follow fixed routes in developing a creative voice: instead, their artistic journeys are personal, often without foreseeable goals. The imperative to assess and reassess one''s musical knowledge, understanding and aspirations is nevertheless a central feature of life as a performer.Musicians in the Making explores the creative development of musicians in both formal and informal learning contexts. It promotes a novel view of creativity, emphasizing its location within creative processes rather than understanding it as an innate quality. It argues that such processes may be learned and refined, and furthermore that collaboration and interaction within group contexts carry significant potential to inform and catalyze creative experiences and outcomes. The book also traces and models the ways in which creative processes evolve over time.Performers, music teachers and researchers will find the rich body of material assembled here engaging and enlightening. The book''s three parts focus in turn on ''Creative learning in context'', ''Creative processes'' and ''Creative dialogue and reflection''. In addition to sixteen extended chapters written by leading experts in the field, the volume includes ten ''Insights'' by internationally prominent performers, performance teachers and others. Practical aids include abstracts and lists of keywords at the start of each chapter, which provide useful overviews and guidance on content.Topics addressed by individual authors include intrapersonal and interpersonal dynamics, performance experience, practice and rehearsal, ''self-regulated performing'', improvisation, self-reflection, expression, interactions between performers and audiences, assessment, and the role of academic study in performers'' development.

This second volume of essays in Chopin Studies contains Chopin research by twelve leading scholars. Three main topics are addressed: reception history, aesthetics and criticism, and performance studies. The first four chapters investigate certain images associated with Chopin during his lifetime and after his death: Chopin as classical composer, as salon composer, as modernist, as 'otherwordly', as androgyne. The next four essays contextualize and define aspects of his musical language, including narrative stuctures, baroque affinities, progressive tendencies and functional ambiguity. The last four deal with analysis and source study as related to performance, structure and expression, tempo rubato and 'authentic' interpretation. The book ends with a thumbnail sketch of Chopin as revealed in a recently discovered diary for 1847-8.

This second volume of essays in Chopin Studies contains Chopin research by twelve leading scholars. Three main topics are addressed: reception history, aesthetics and criticism, and performance studies. The first four chapters investigate certain images associated with Chopin during his lifetime and after his death: Chopin as classical composer, as salon composer, as modernist, as 'otherwordly', as androgyne. The next four essays contextualize and define aspects of his musical language, including narrative stuctures, baroque affinities, progressive tendencies and functional ambiguity. The last four deal with analysis and source study as related to performance, structure and expression, tempo rubato and 'authentic' interpretation. The book ends with a thumbnail sketch of Chopin as revealed in a recently discovered diary for 1847-8.

Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. Praised for their originality and genius when he performed them, the concertos later attracted censure for ostensible weaknesses in form, development and orchestration. They also suffered at the hands of editors and performers, all the while remaining enormously popular. This handbook re-evaluates the concertos against the traditions that shaped them so that their many outstanding qualities can be fully appreciated. It describes their genesis, Chopin's own performances and his use of them as a teacher. A survey of their critical, editorial and performance histories follows, in preparation for an analytical 're-enactment' of the music - that is, a narrative account of the concertos as embodied in sound, rather than in the score. The final chapter investigates Chopin's enigmatic 'third concerto', the Allegro de concert. Chopin: The Piano Concertos has won the Wilk Book Prize for Research in Polish Music.

Chopin's E minor and F minor Piano Concertos played a vital role in his career as a composer-pianist. Praised for their originality and genius when he performed them, the concertos later attracted censure for ostensible weaknesses in form, development and orchestration. They also suffered at the hands of editors and performers, all the while remaining enormously popular. This handbook re-evaluates the concertos against the traditions that shaped them so that their many outstanding qualities can be fully appreciated. It describes their genesis, Chopin's own performances and his use of them as a teacher. A survey of their critical, editorial and performance histories follows, in preparation for an analytical 're-enactment' of the music - that is, a narrative account of the concertos as embodied in sound, rather than in the score. The final chapter investigates Chopin's enigmatic 'third concerto', the Allegro de concert. Chopin: The Piano Concertos has won the Wilk Book Prize for Research in Polish Music.

The twelve essays in this volume reflect the most important trends in the study of musical performance. Three areas are investigated: the psychology of performance, the semantics of performance, and the relation between performance and analysis. The first section broaches fundamental issues such as text, expression, musical motion and the role of practice in the acquisition of expertise. The next four chapters address the shaping of structure and the projection of meaning in performance, while the last four consider performance as analytical paradigm, as dramatic narrative, as act of criticism, as temporal process. Among the distinguished international authorship are many accomplished performers whose practical experience ensures that the book contains vital and stimulating insights into the interpretation of music, and that it will speak to a wide musical audience.

From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by 'short takes' - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.

This accessible guide for students, teachers and performers at all levels unravels the complexities of musical performance and focuses on key aspects of learning, playing and responding to music. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorisation. The next section considers the 'translation' from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and 'performers on performance'.

This accessible guide for students, teachers and performers at all levels unravels the complexities of musical performance and focuses on key aspects of learning, playing and responding to music. A survey of performance through the ages leads to a presentation of basic historical, analytical and psychological concepts. Four chapters follow on teaching, development, practice and memorisation. The next section considers the 'translation' from score to sound, physical projection, ensemble playing and performance anxiety. The final section addresses the act of listening, the legacy of recordings, music criticism and 'performers on performance'.

This Annotated Catalogue presents the most ambitious and comprehensive research ever carried out on the first editions of Chopin's music. It begins with an in-depth introduction to these unique sources and the publishing practices that gave rise to them. A detailed description then follows of each Chopin first edition and the later impressions produced by the original publishers or their successors. The Annotated Catalogue facilitates identification of the Chopin scores held in libraries and private collections around the world by attempting to reconstruct the creative history of each edition. It features entries on 1,552 distinct impressions - of which some 4,830 copies are individually described - along with explanatory essays, appendices and facsimiles of over 200 title pages which illustrate their respective catalogue entries. Musicians and musicologists alike will gain an unprecedented understanding of the creative history of each Chopin edition and the music within it.

From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by 'short takes' - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.

This anthology brings together representative examples of the most significant and engaging scholarly writing on Chopin by a wide range of authors. The essays selected for the volume portray a rounded picture of Chopin as composer, pianist and teacher of his music, and of his overall achievement and legacy. Historical perspectives are offered on Chopin’s biography ’as cultural discourse’, on the evolution and origins of his style, and on the contexts of given works. A fascinating contemporary overview of Chopin’s oeuvre is also provided. Seven source studies assess the status and role of Chopin’s notational practices as well as some enigmatic sketch material. Essays in the field of performance studies scrutinise the ’cultural work’ carried out by Chopin’s performances and discuss his playing style along with that of his contemporaries and students. This paves the way for a body of essays on analysis, aesthetics and reception, considering aspects of genre and including an overview of analytical approaches to select works. The remaining essays address Chopin’s handling of form, rhythm and other musical elements, as well as the ’meaning’ of his msuic. The collection as a whole underscores one of the most important aspects of Chopin’s legacy, namely the paradoxical manner in which he drew from the past - in particular, certain eighteenth-century traditions - while stretching inherited conventions and practices to such an extent that a highly original ’music of the future’ was heralded.

This anthology brings together representative examples of the most significant and engaging scholarly writing on Chopin by a wide range of authors. The essays selected for the volume portray a rounded picture of Chopin as composer, pianist and teacher of his music, and of his overall achievement and legacy. Historical perspectives are offered on Chopin’s biography ’as cultural discourse’, on the evolution and origins of his style, and on the contexts of given works. A fascinating contemporary overview of Chopin’s oeuvre is also provided. Seven source studies assess the status and role of Chopin’s notational practices as well as some enigmatic sketch material. Essays in the field of performance studies scrutinise the ’cultural work’ carried out by Chopin’s performances and discuss his playing style along with that of his contemporaries and students. This paves the way for a body of essays on analysis, aesthetics and reception, considering aspects of genre and including an overview of analytical approaches to select works. The remaining essays address Chopin’s handling of form, rhythm and other musical elements, as well as the ’meaning’ of his msuic. The collection as a whole underscores one of the most important aspects of Chopin’s legacy, namely the paradoxical manner in which he drew from the past - in particular, certain eighteenth-century traditions - while stretching inherited conventions and practices to such an extent that a highly original ’music of the future’ was heralded.

From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by ''short takes'' - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.

From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by ''short takes'' - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.