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Gordon - Mastering the Art of Performance

Gordon - Mastering the Art of Performance

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Maduil j
tfte art
frl ~
A Primer for Musicians Stewart
Gordon
OXFOR
UNIV RSITY
PR SS
2 6
 
OXFOR
UNIVERSITY
PRESS
Oxford
University Press, Inc., publishes
works
that further Oxford
University s objective
of
excellence in research, scholarship,
and
education.
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cs Salaam
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Copyright
@
2006 by Oxford University Press, Inc.
Published
by
Oxford
University Press, Inc. 198
Madison
Avenue, New York, New York 10016 wvvw.oup.com
Oxford
is
a registered
trademark of Oxford
University Press
All
rights reserved.
No part
of
this
publication may
be
reproduced, stored
in a retrieval system,
or transmitted,
in
any
form or
by
any means,
electronic,
mechanical,
photocopying,
recording,
or
otherwise,
without the prior
permission
of
Oxford
University Press. Library
of
Congress Cataloging-in-Publication
Data
Gordon,
Stewart,
1930-
Mastering
the art of performance:
a
primer
for
musicians
/ Stewart
Gordon.
p. cm.
includes bibliographical
references
and
index. ISBN -13 978-0-19-517743-5 ISBN
0-19-517743-6
1
Music-Performance.
2
Performance
practice (Music)
I.
Title. ML457.G66 2006
781.4 3-dc22
2005010152
98765432
Printed in
the
United
States
of
America
on
acid-free
paper
Co/1 :ten:ts
PreLude-
Defining Performance
3
dw pf:erol1 R
Assessing Yourself, the Performer: Achieving a Positive Mind-Set tmyard Performance
13
dw..pf:ertwo
Why
We
Perform: Forging a Performance Philosophy
25
dw pf:ertltru
Physical
Support
for Performance
33
dw..pf:er
four
Conceptualizing
and
Scheduling Goals
41
dw pf:er~
Keeping Preparation Fresh
and
Focused
55
dw..pf:er
rix
Dealing with Repetition and Drill
69
cfw pter
~
Techniques to Develop Secure Memorization
81
dw..pf:er
ijkt
Ensuring Quality
91
dw..pf:er
ff iI1h
Self-Regard at the Time
of
Performance
97
dw..pf:er
tuu
Managing Stage Fright
105
dw..pf:er
eiwet1
Dynamics
during
Performance
117
dw pf:ert~
Evaluation after Performance
129
chapter
tlUrteeJt.
Performance
and
Human
Interaction
153
chapter
ourteeJt.
The Career Challenge
159
cfw pter
jifteeJt.
Physical Challenge
and
Performance
179
chapter
rixteeJt.
Performance Careers in Retrospect
185
Portiuti
Performance
and
Your Spiritual
Life
199
seieded
BWUojraphy
205
~x
207
 
 efining Performance
This volume
is
intended to
serve as a series
of
thought-provoking
exercises for those
who
strive
to
perfect
the art
of
musical performance. Written
by
a musician these chapters are
intended to
stimulate
and
assist
other mu
sicians
as
they
prepare to perform
music for
an
audience
of
listeners at-
tempt to
realize artistic goals
and attempt to
sustain a career
as
a musical performer. Some musicians are attracted
to
the overall field
of
music because
of
the
excitement
inherent
in performance. Perhaps
they
equate playing
or
singing before
an
audience
to receiving
admiration. In
time these musicians often find
that their
initial
attraction to
the rewards
of
performance
becomes less
important
as
a love for the music itself grows.
Others
are attracted to
the
music first. These musicians
may
find
that
their regard for
performance
often assumes increasing significance
as
they
realize
that performance
is
the
logical goal
through
which
they can
share
the
music
they
love so
much.
Thus performance and
music
study
are intertwined.
As
a musician
em
barks
on
learning
to play
or
sing a given work somewhere
in
the back
of
his
or her mind
is
the
concept
of
p rforming
that
music. This concept envisions recreating
the
musical
work
as a whole in
an
act
that
sets
forth
the beauty the excitement
the emotion the humor and
the intricacy
of
the
music.
Many
musicians
downplay
their interest in the spotlight
pointing
to
the worth
of
the music rather than their
achievement
in
realizing
the
music.
Yet
they
also realize at
some
level
that an
awareness
of
oneself
is
almost in-escapable. Moreover
most cannot
completely eradicate
from consideration
the
possible rewards from successful performance. Having
noted the
close links between music
study
and
performance we are
now
faced
with
a paradox for while
the
two are inextricably linked we
almost
always regard a
performance
as a distinct
and
separate goal.
The
act 3

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