Bethany Lowe - Academia.edu (original) (raw)
Uploads
Papers by Bethany Lowe
Music Analysis, Jul 1, 2011
ABSTRACTThe ambiguity over the number and structure of movements in Sibelius's Fifth Symphony... more ABSTRACTThe ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoked vigorous and far‐reaching discussion in British analytical writings from the 1930s onwards. But do even simple analytical decisions such as these have any impact upon those performing or listening to the work? The use of empirical methods to measure tempo choices in 43 different recordings of this piece reveals that performers do indeed participate in structural debates, affirming a model which places their contributions on an equal level with those from analytical writings and which shows the reciprocity between these modes of activity. Various performing traditions emerge from the data, including a one‐movement, a two‐movement and a ‘recapitulatory’ approach, as well as a Russian national style, some teacher‐pupil influences and some likely correlations with published writings and broader aesthetic movements, suggesting that both structural and cultural questions can productively be addressed by siting performances within the web of discourse. Finally, the pluralistic perspective arising from juxtaposing and accepting so many strongly contrasting interpretations calls into question the notion of a unitary music object, raising issues which may have implications for music analysis and beyond.
Cambridge University Press eBooks, Feb 26, 2004
Indiana Theory Review, 2003
The Cambridge Companion to Sibelius, 2004
Music Analysis, 2011
The ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoke... more The ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoked vigorous and far-reaching discussion in British analytical writings from the 1930s onwards. But do even simple analytical decisions such as these have any impact upon those performing or listening to the work? The use of empirical methods to measure tempo choices in 43 different recordings of this piece reveals that performers do indeed participate in structural debates, affirming a model which places their contributions on an equal level with those from analytical writings and which shows the reciprocity between these modes of activity. Various performing traditions emerge from the data, including a one-movement, a two-movement and a ‘recapitulatory’ approach, as well as a Russian national style, some teacher-pupil influences and some likely correlations with published writings and broader aesthetic movements, suggesting that both structural and cultural questions can productively be addressed by siting performances within the web of discourse. Finally, the pluralistic perspective arising from juxtaposing and accepting so many strongly contrasting interpretations calls into question the notion of a unitary music object, raising issues which may have implications for music analysis and beyond.
Music and ConsciousnessPhilosophical, Psychological, and Cultural Perspectives, 2011
... the mental consciousness, treating it in exactly the same way as the previous (sensory) consc... more ... the mental consciousness, treating it in exactly the same way as the previous (sensory) consciousnesses. ... to be empty of inherent or fixed existence: in the Pali canon, the Buddha ... meditation practice (versions of which can be found in various Tibetan Buddhist traditions), whose ...
Music Analysis, Jul 1, 2011
ABSTRACTThe ambiguity over the number and structure of movements in Sibelius's Fifth Symphony... more ABSTRACTThe ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoked vigorous and far‐reaching discussion in British analytical writings from the 1930s onwards. But do even simple analytical decisions such as these have any impact upon those performing or listening to the work? The use of empirical methods to measure tempo choices in 43 different recordings of this piece reveals that performers do indeed participate in structural debates, affirming a model which places their contributions on an equal level with those from analytical writings and which shows the reciprocity between these modes of activity. Various performing traditions emerge from the data, including a one‐movement, a two‐movement and a ‘recapitulatory’ approach, as well as a Russian national style, some teacher‐pupil influences and some likely correlations with published writings and broader aesthetic movements, suggesting that both structural and cultural questions can productively be addressed by siting performances within the web of discourse. Finally, the pluralistic perspective arising from juxtaposing and accepting so many strongly contrasting interpretations calls into question the notion of a unitary music object, raising issues which may have implications for music analysis and beyond.
Cambridge University Press eBooks, Feb 26, 2004
Indiana Theory Review, 2003
The Cambridge Companion to Sibelius, 2004
Music Analysis, 2011
The ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoke... more The ambiguity over the number and structure of movements in Sibelius's Fifth Symphony provoked vigorous and far-reaching discussion in British analytical writings from the 1930s onwards. But do even simple analytical decisions such as these have any impact upon those performing or listening to the work? The use of empirical methods to measure tempo choices in 43 different recordings of this piece reveals that performers do indeed participate in structural debates, affirming a model which places their contributions on an equal level with those from analytical writings and which shows the reciprocity between these modes of activity. Various performing traditions emerge from the data, including a one-movement, a two-movement and a ‘recapitulatory’ approach, as well as a Russian national style, some teacher-pupil influences and some likely correlations with published writings and broader aesthetic movements, suggesting that both structural and cultural questions can productively be addressed by siting performances within the web of discourse. Finally, the pluralistic perspective arising from juxtaposing and accepting so many strongly contrasting interpretations calls into question the notion of a unitary music object, raising issues which may have implications for music analysis and beyond.
Music and ConsciousnessPhilosophical, Psychological, and Cultural Perspectives, 2011
... the mental consciousness, treating it in exactly the same way as the previous (sensory) consc... more ... the mental consciousness, treating it in exactly the same way as the previous (sensory) consciousnesses. ... to be empty of inherent or fixed existence: in the Pali canon, the Buddha ... meditation practice (versions of which can be found in various Tibetan Buddhist traditions), whose ...