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    The program note as creative knowledge and skills: shaping a collaborative interpretation of newly composed music

    Access Status
    Fulltext not available
    Authors
    Bennett, Dawn
    Blom, D.
    Date
    2014
    Type
    Conference Paper
    
    Metadata
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    Citation
    Bennett, D. and Blom, D. 2014. The program note as creative knowledge and skills: shaping a collaborative interpretation of newly composed music, in Carruthers, G. (ed), Proceedings of the 20th international seminar of the ISME Commission for the Education of the Professional Musician, Jul 15-18 2014, pp. 173-180. Belo Horizonte, Brazil: International Society for Music Education.
    Source Title
    Relevance and reform in the education of professional musicians. The 20th international seminar of the ISME Commission for the Education of the Professional Musician
    Source Conference
    Relevance and reform in the education of professional musicians: The 20th international seminar of the ISME Commission for the Education of the Professional Musician
    ISBN
    978-0-9942055-1-3
    Faculty
    Faculty of Humanities
    URI
    http://hdl.handle.net/20.500.11937/38984
    Collection
    • Curtin Research Publications
    Abstract

    In the classical music concert, a program note provides listeners with information about historical context, personal composer details and the musical thinking behind a work. For repertoire in the Western art music canon, players often know much of this information before they start practicing and then rehearsing the piece; however for newly composed works, the process may be different. This paper reports findings from a practice-led research project involving commissioned works, all of which were received without explanatory program notes. Specifically, the research investigated the preparation of a newly composed work for viola and piano and the role of the program note when it was introduced mid-way through the rehearsal process. In this instance the program note was found to be more of a hindrance than an aid in the building of a collaborative interpretation, yet it remains part of the creative knowledge on which we built a collaborative interpretive platform from which to play the work. The findings emphasise the need for students to utilise their creative knowledge and skills to challenge hierarchies of value as they redefine new repertoire for themselves.

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