Introduction / Part I: |
Introduction and Overview / 1: |
List of Symbols / 2: |
Short History of Performance Theory / 3: |
The Philosophical Tradition / 3.1: |
The Empirical Tradition / 3.2: |
Oniontology / 4: |
Realities / 4.1: |
Communication / 4.2: |
Semiotics / 4.3: |
Embodiment / 4.4: |
The Baboushka Principle / 4.5: |
Topography of Performance / 4.6: |
Semiotic Expressivity / 4.7: |
Rhetorical Expressivity / 4.8: |
CSI Anatomy / 4.9: |
ISC Anatomy / 4.10: |
Multi-agent Communication / 4.11: |
The Performer's Balanced Dancing Presence / 4.12: |
Structure Theory / Part II: |
What Is Structure Theory? / 5: |
Tempo Curves / 6: |
What is Tempo? / 6.1: |
Some Remarks on the History and Ethnography of Tempo / 6.1.1: |
Calcuating Time from Tempo / 6.2: |
Tuning, Intonation, and Dynamics / 7: |
Tuning and Intonation / 7.1: |
Dynamics / 7.2: |
Combining Tempo, Tuning, and Dynamics / 8: |
Articulation / 9: |
General Performance Fields / 10: |
Initial Sets / 10.1: |
Measuring Performance Fields / 10.3: |
The Category of Performance Cells and Hierarchies / 11: |
Expressive Theory / Part III: |
What Is Expressive Theory? / 12: |
Experiments in Expressive Performance / 12.1: |
Emotional Expression / 13: |
What is Emotion? / 13.1: |
Some Physiological Evidences / 13.2: |
Manfred Clynes' Essentic Forms / 13.3: |
Reinhard Kopiez' and Jörg Langner's Theory of Oscillating Systems / 13.4: |
Anders Friberg's Feature-based Model / 13.5: |
Alf Gabrielsson's Isomorphism / 13.6: |
Gestural Expression / 14: |
General Facts About Gesture Theory in Music / 14.1: |
Roger Sessions: Gestures in Performance / 14.2: |
Theodor Wiesengrund Adorno's Gesture Theory in Musical Reproduction / 14.3: |
Renate Wieland's Gestural Piano Pedagogy / 14.4: |
Manfred Clynes' Essentics as a Theory of Gestural Expressivity / 14.5: |
Johan Sundberg, Neil P. McAgnus Todd: Mechanical Models of Gestures in Music / 14.6: |
Guerino Mazzola and Stefan Müller: Modeling the Pianist's Hand / 14.7: |
Modeling the Hand / 14.7.1: |
Transforming Abstract Note Symbols into Symbolic Gestures / 14.7.2: |
Deforming Symbolic Hand Gestures into Physically Valid Curves / 14.7.3: |
A Mathematical Gesture Theory / 14.8: |
Anders Friberg, Antoni Camurri et al.: Computer-aided Emotional Analysis of Performance / 14.9: |
Analytical Expression / 15: |
Adorno's Analytical Performance Study of Webern's First Bagatelle / 15.1: |
Anders Friberg, Johan Sundberg, and Lars Frydén: Director Musices Performance Software / 15.2: |
Guerino Mazzola and Oliver Zahorka: The Rubato Theory of Analytical Performance / 15.3: |
Analytical Weights / 16: |
Metrical Weights / 16.1: |
Melodic Weights / 16.2: |
Harmonic Weights / 16.3: |
Primavista Weights / 16.4: |
Shaping Operators / 17: |
Are Lie Type Operators Universal? / 17.1: |
Two Generic Models and the Challenge of Improvisation / 18: |
The GERM Model / 18.1: |
Todd's Generic Approach / 18.2: |
The Challenge of Improvisation / 18.3: |
Expansion of Improvisational Time-Spaces / 18.3.1: |
The Analysis / 18.3.2: |
String Quartet Theory / 19: |
Historical and Theoretical Prerequisites / 19.1: |
The General Plan / 19.2: |
General Position for Performance: Four Examples / 19.2.1: |
The Sound Space of the Violin Family / 19.3: |
Notes in General Position / 19.4: |
Performance of the String Quartet / 19.5: |
Rubato: Model and Software / Part IV: |
Performance Scores / 20: |
Stemma Theory / 21: |
Tempo Hierarchies in the presto® Software / 21.1: |
The General Stemma Concept / 21.2: |
The New Performance Rubette: Realtime, Openness, and Gesturality / 21.3: |
Case Studies / 22: |
Schumann's Träumerei: The First Performance Experiment with RUBATO® / 22.1: |
Schumann's Kuriose Geschichte / 22.2: |
Bach's Kunst der Fuge / 22.3: |
Rhythmical Analysis / 22.3.1: |
Motif Analysis / 22.3.2: |
Target-driven vs. Experimental Stemma Constructions / 22.3.3: |
Performance Setup / 22.3.4: |
Construction of Third Performance Parcours / 22.3.5: |
Final Discussion / 22.3.6: |
Statistics / 23: |
Hierarchical Decomposition of Weights / 23.1: |
Inverse Performance / Part V: |
What Is Inverse Performance Theory? / 24: |
Technical Aspects / 24.1: |
Reconstruction of the Performance Map from Recording Data / 24.1.1: |
Reconstruction of the Stemma from the Performance Map / 24.1.2: |
The Technical Setup / 25: |
Schumann's Träumerei: Argerich vs. Horowitz / 26: |
Rethinking Music Critique / 27: |
Boiling Down Infinity / 27.1: |
Glenn Gould's Politically Incorrect Performance / 27.2: |
Epilogue / Part VI: |
Summary of Performance Theory / 28: |
Future Developments / 29: |
References, Music Examples, Index / Part VII: |
References |
Music Examples |
Index |
Introduction / Part I: |
Introduction and Overview / 1: |
List of Symbols / 2: |