Iatc music criticism seminar

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  • - It may be some feeling after hearing a piece of music. Feel it good or feel it bad. Feel it nice or feel it ugly. \n- Everyone has their own opinion and seems that feeling towards music is very subjective.\n- Music criticism has a long history and is a profession.\n\n\n
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  • - So we are like doing an adjudicator in a singing contest.\n- Everyone of us can be an adjudicator.\n- Instead of giving marks, we write down what we hear and what we think.\n
  • - So we are like doing an adjudicator in a singing contest.\n- Everyone of us can be an adjudicator.\n- Instead of giving marks, we write down what we hear and what we think.\n
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  • - Hear how an Italian sings.\n
  • - Hear how an Italian sings.\n
  • - Hear how an Italian sings.\n
  • - Hear how an Italian sings.\n
  • - Hear how an Italian sings.\n
  • - Hear how an Italian sings.\n
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  • - 台上一刻鐘,台下十年功\n- Every note played is all tremendous effort.\n- You can easily tell if the musician is trained properly with the music he’s on hand. (e.g. Tchaikovsky 4’s Triangle)\n\n
  • - Philosophically: music should be taken very seriously.\n- Realistically: I pay for the ticket.\n
  • - Keyword: Technique. \n- We analyse the music with musical elements.\n- Just like fashion. How we say some “good fashion”. It’s not always about trend but some basic elements: cutting, colour, texture.\n
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  • - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
  • - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
  • - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
  • - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
  • - Hearing is more abstract than visual.\n- BUT some are born more sensitive to sound than others.\n- So no cheating. Time will tell.\n\n
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  • - We have many types of music. e.g....\n- Music criticism develops first in the western classical music tradition.\n- There has been so many famous critics in European history. [UNVAIL SLIDE]\n- I myself is a classical music critic.\n
  • - We have many types of music. e.g....\n- Music criticism develops first in the western classical music tradition.\n- There has been so many famous critics in European history. [UNVAIL SLIDE]\n- I myself is a classical music critic.\n
  • - Music can further be divided into “composition”, “performance”\n- “Performance” can further be divided into “live performance” or “recorded performance” [UNVAIL]\n- We only have recordings here.\n- Criticise composition requires a lot more musical knowledge.\n- From recorded performance we may have some guiding principles on how to write.\n- [BEFORE GOING ON] We focus on music today, so no video!\n
  • - Music can further be divided into “composition”, “performance”\n- “Performance” can further be divided into “live performance” or “recorded performance” [UNVAIL]\n- We only have recordings here.\n- Criticise composition requires a lot more musical knowledge.\n- From recorded performance we may have some guiding principles on how to write.\n- [BEFORE GOING ON] We focus on music today, so no video!\n
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  • - Composers Union. \n- Censorship.\n- Sudden death if opposing government.\n
  • - Composers Union. \n- Censorship.\n- Sudden death if opposing government.\n
  • - Lady Macbeth of Mtsensk.\n- Criticised by Stalin on newspaper.\n
  • - Lady Macbeth of Mtsensk.\n- Criticised by Stalin on newspaper.\n
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  • - 為何他們「會」有不同\n- 為何他們要「令到」演出不同\n
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  • - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
  • - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
  • - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
  • - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
  • - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
  • - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
  • - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
  • - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
  • - Just like “reading” of text. Words may mean differently to different people.\n
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  • - No every single performance is the same.\n- It’s different from reading a book, or looking at a picture.\n
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  • - Performance B is a HIP performance.\n
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  • Iatc music criticism seminar

    1. 1. Performing Arts Criticism Project for Senior Secondary Students Music Criticism Dennis WuCopyright © 2011 Dennis Wu. All rights reserved.
    2. 2. About the speakerDennis Wu Music writer, critic and manager Studied music in Hong Kong Critic at Hifi Review Hifi
    3. 3. What is MusicCriticism? Photo by Grievous Angel
    4. 4. New Grove Encyclopediaof Music“Music criticism is atype of thought thatevaluates music andformulatesdescriptions that arerelevant to evaluation.”
    5. 5. Photo by Grievous Angel
    6. 6. Evaluate Music Photo by Grievous Angel
    7. 7. Evaluate MusicFormulate Descriptionof Evaluation Photo by Grievous Angel
    8. 8. Music 1“Nessun Dorma”from PucciniTurandot
    9. 9. Music 1“Nessun Dorma”from PucciniTurandot Giacomo Puccini (1858-1924) An aria from an opera
    10. 10. Discussion
    11. 11. DiscussionHow do the singers use their voice? Do they use the voice naturally?
    12. 12. DiscussionHow do the singers use their voice? Do they use the voice naturally?How do they manage the words of the music?
    13. 13. DiscussionHow do the singers use their voice? Do they use the voice naturally?How do they manage the words of the music?How do they manage the emotion of the music?
    14. 14. DiscussionHow do the singers use their voice? Do they use the voice naturally?How do they manage the words of the music?How do they manage the emotion of the music?How do the audience respond?
    15. 15. “Nessun Dorma”
    16. 16. “Nessun Dorma”
    17. 17. “Nessun Dorma”
    18. 18. Ed il mio bacio scioglierà And my kiss will dissolveil silenzio the silenceche ti fa mia! that makes you mine!Dilegua, o notte! Vanish, o night!Tramontate, stelle! Set, stars!Tramontate, stelle! Set, stars!Allalba vincerò! At dawn, I will win!vincerò, vincerò! I will win! I will win! “Nessun Dorma”
    19. 19. DiscussionHow do the singers use their voice? Do they use the voice naturally?How do they manage the words of the music?How do they manage the emotion of the music?How do the audience respond?
    20. 20. DiscussionHow do the singers use their voice? Do they use the voice naturally? Vocal TechniqueHow do they manage the words of the music? DictionHow do they manage the emotion of the music? EmotionHow do the audience respond? Reception
    21. 21. Technical Layerof Music
    22. 22. Performance reflects how well the musicians are trained in executing the music.Technical Layerof Music
    23. 23. Technical Layerof Music
    24. 24. Critics normally expect a high standard of execution.Technical Layerof Music
    25. 25. Technical Layerof Music
    26. 26. Listeners may assess a performance with different musical elementsTechnical Layerof Music
    27. 27. MusicalElements
    28. 28. Vocal TechniqueMusicalElements
    29. 29. Vocal Technique DictionMusicalElements
    30. 30. Vocal Technique Diction EmotionMusicalElements
    31. 31. MusicalElements
    32. 32. Instrument TechniqueMusicalElements
    33. 33. Instrument Technique TempoMusicalElements
    34. 34. Instrument Technique Tempo DynamicMusicalElements
    35. 35. Instrument Technique Tempo DynamicMusicalElements Articulation
    36. 36. But beforethat...
    37. 37. You have to have a sharp pair of earsBut beforethat...
    38. 38. But beforethat...
    39. 39. You have to know the music that you are reviewingBut beforethat...
    40. 40. What music?
    41. 41. Photos by Grievous Angel, woodleywonderworks @ flickr, ilbloggasterzo @ WordpressWhat music?In this seminar we focus on Western Classical Music.
    42. 42. What music?
    43. 43. What music?In this seminar we focus on Recorded Performances.
    44. 44. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro nontroppo
    45. 45. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro nontroppo Dmitri Shostakovich (1906-1975)
    46. 46. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro nontroppo
    47. 47. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro non One of the glorioustroppo composers in Soviet Union
    48. 48. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro nontroppo
    49. 49. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro non Though he often facedtroppo fierce political oppressions
    50. 50. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro nontroppo
    51. 51. Music 2 Fifth symphony is anShostakovich: official apology in music to hisSymphony No. 5 in denunciation by SovietD minor, Op. 47 Communist PartyIV. Allegro nontroppo
    52. 52. Music 2Shostakovich:Symphony No. 5 inD minor, Op. 47IV. Allegro nontroppo
    53. 53. Music 2Shostakovich: “... resolved inSymphony No. 5 in optimism and the joy ofD minor, Op. 47 living.” ...IV. Allegro nontroppo Great success!
    54. 54. Focuses while listening
    55. 55. Focuses while listeningHow do they manage the tempo of the music?
    56. 56. Focuses while listeningHow do they manage the tempo of the music?How do they manage the loudness and softness(dynamics) of the music?
    57. 57. Focuses while listeningHow do they manage the tempo of the music?How do they manage the loudness and softness(dynamics) of the music?How do they manage the emotion of the music?
    58. 58. Big Question
    59. 59. Why do musicians perform a same piece of music differently?Big Question
    60. 60. Music 3Bach: Invention No.13 in A minor Johann Sebastian Bach (1685-1750)
    61. 61. Music 3Bach: InventionNo. 13 in Aminor
    62. 62. Music 3Bach: InventionNo. 13 in Aminor
    63. 63. Music 3Bach: InventionNo. 13 in Aminor
    64. 64. Music 3Bach: InventionNo. 13 in Aminor
    65. 65. MusicalInterpretation
    66. 66. Although the music is printed, every one has a different way to read the same piece of musicMusicalInterpretation
    67. 67. MusicalInterpretation
    68. 68. Performance reflects how the musicians understand the music and musical styleMusicalInterpretation
    69. 69. MusicalInterpretation
    70. 70. Performer re-creates from what is written downMusicalInterpretation
    71. 71. Music 4Beethoven:Symphony No. 5 inC minor, Op. 67I. Allegro con brio Ludwig van Beethoven (1770-1827)
    72. 72. Music 4Beethoven:Symphony No. 5 inC minor, Op. 67I. Allegro con brio
    73. 73. Music 4 Shortly before writing,Beethoven: Beethoven consideredSymphony No. 5 in suicide due to his deafnessC minor, Op. 67I. Allegro con brio
    74. 74. Music 4Beethoven:Symphony No. 5 inC minor, Op. 67I. Allegro con brio
    75. 75. Music 4Beethoven: The opening musicalSymphony No. 5 in idea signifies “Fate knocks the door.”C minor, Op. 67I. Allegro con brio
    76. 76. DiscussionHow do they manage the loudness and softness(dynamics) of the music?How do they manage the emotion of the music?How do the performance relevant to the meaning ofmusic?
    77. 77. MusicalInterpretation
    78. 78. Performance reflects how the musicians understand the music and musical styleMusicalInterpretation
    79. 79. MusicalInterpretation
    80. 80. Critics normally expect a competent understanding of style and contextMusicalInterpretation
    81. 81. But beforethat... ...
    82. 82. Critics are expected to have a competent understanding of style and contextBut beforethat... ...
    83. 83. Photo by woodleywonderworksHow to write?
    84. 84. Photo by woodleywonderworksHow to write?Describe and evaluate what you heard with words
    85. 85. What to write?
    86. 86. What to write?Analyse the technical aspect of performance
    87. 87. What to write?Analyse the technical aspect of performanceDescribe how is the music interpreted
    88. 88. How to write?
    89. 89. How to write?Principles
    90. 90. How to write?Principles Write objectively
    91. 91. How to write?Principles Write objectively When making a judgement, justify it with reason
    92. 92. How to write?Principles Write objectively When making a judgement, justify it with reason Taste can be personal, preference can be personal, but criticism is always rational
    93. 93. Write Objectively
    94. 94. Write ObjectivelyThe tempo ofShostakovich’s SymphonyNo. 5 is performed with avery fast tempo.The finale of theShostakovich’s SymphonyNo. 5 is performed with acrazy tempo.
    95. 95. Write ObjectivelyThe opening crescendo bythe full orchestral force issolidly loud.The opening crescendo bythe full orchestral force isharshly noisy.
    96. 96. Support with reasonWith its very quick tempo,the performance is one ofthe most excitingrenditions of thesymphony.The performance is one ofthe most excitingrenditions of thesymphony.
    97. 97. Support with reasonHowever, the conductorpicks a very quick tempowhich deviates much fromthe composer’s intentionas he has indicated in thescore.However, the very quicktempo is not correct as it isquicker than normal.
    98. 98. Make it personal and rationalAlthough the orchestrapicks up an extreme speedthat the composer mightnot want, this performanceis a lovable one, opens afresh perspective ofexplosiveness of thesymphony and an addedlayer of irony — of the “joy”and “success” in anoppressed regime.
    99. 99. Conclusion
    100. 100. Ask more than “is the music good” or “is the music bad”Conclusion
    101. 101. Conclusion
    102. 102. Ask: “Has the musician got prepared for what one is going to perform?”Conclusion
    103. 103. Conclusion
    104. 104. Ask: “Has the musician understood the music that one is going to perform?”Conclusion
    105. 105. Conclusion
    106. 106. Ask: “Does the performance convince me as an audience?”Conclusion
    107. 107. Conclusion
    108. 108. Write your answer down. And that’s your criticism towards music.Conclusion
    109. 109. Conclusion
    110. 110. Listen as many times as you can.Conclusion
    111. 111. Presented by Dennis Wu This slideshow can be downloaded at: www.slideshare.net/ denniswuThank you

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