Le 28 juin 2017
de 16h00 à 16h30
Le Patio (université de Strasbourg)
22 rue René Descartes, 67000 Strasbourg
salle 3202
Pré-acte / Acte
Auteur : Panu Heimonen
This paper asks on a general level what type of knowledge there is involved in music analytical process and how this affects analytical results, exemplified by Mozart’s 1. movement concerto form. The paper builds a method for analysing dialogue in Mozart’s piano concertos. Dialogue takes place between two modalities embedded in theme actors that at large scale level represent the mental attitudes of participating solo and ritornello sections, albeit also those of individual themes. Two Mozart’s piano concerto 1. movements (KV 456 and KV 482) are analyzed. Resulting compositional profiles show how through epistemic considerations one can infiltrate cultural and personal level experiences into music analytical process.
The novel theoretical framework consists of existential semiotic theory (Tarasti 2015) and linguistic analysis of epistemic modalities (Jaszczolt 2009, Williamson 2013). To access the sense of Enlightenment performance practice one integrates and contextualizes the temporal model of dialogue using ideas from new historicism (Greenblatt 1988) to build an Enlightenment sense of dialogue into concerto discourse. In music analytical process, the prime epistemological issues are internalized to the concerto discourse through epistemic modalities and related temporal references. The methodological frame is able to bring together those constituents that are needed to simulate a sense of sociability in musical discourse. This opens an avenue for cultural knowledge to enter the musical work, its formal structures. Whereas performance practice in a narrow sense involves phrasing and articulation, one now gains access to Enlightenment cultural practice as exemplified by the conversational nature of concerto form.
