Do interpreters Do interpreters take advantage take advantage from exploiting from exploiting

perceptual perceptual illusions?illusions?

Sebastiano Lava

Conservatorio della Svizzera italiana, A.a. 2007-2008

DispenseDispense

Indice (del lavoro)

1. Introduzione2. Nota introduttiva sulle riflessioni di H. Schenker3. Proposte di Schenker4. Esperimenti5. Sistema nervoso centrale umano, struttura base6. Percezione

a) Percezione uditivab) Percezione ottica ed illusioni ottiche

7. Integrazione proposte di Schenker – funzionamento del cervelloa) quanto proposto da H. Schenker è plausibile?b) è possibile avanzare delle ipotesi di spiegazione?

8. Conclusioni

Introduzione• Perché questo lavoro?

• Interesse

• Storia e struttura di questo lavoro, le quattro tappe

Struttura della presentazione

• I parte: Riflessioni iniziali (cap. 2)

• II parte: Le proposte di Schenker (cap. 3)

• III parte: Meccanismi percettivi (cap. 6.b) + 7.a) )

• IV parte: Ipotesi di spiegazione e conclusione

(cap. 7.b) + 8.)

I parte

Riflessioni Riflessioni inizialiiniziali

Riflessioni iniziali, prima considerazione

• Il problema interpretativo: quale via porta alla soluzione, quale via percorrere?

• Plausibilità e ragionevolezza di ciò:« stadi » di un’opera

d’arte musciale

Riflessioni iniziali I - 2

1. Scrivere impone di organizzare il proprio pensiero in forma nuova (prima trasformazione)

2. Esecuzione e scelte interpretative (seconda trasformazione)

3. Ascolto (terza trasformazione)

Riflessioni iniziali I - 2

1. Scrivere impone di organizzare il proprio pensiero in forma nuova (prima trasformazione)

1. Vantaggio o svantaggio dello scrivere?

2. Nel caso della musica: sacrificare l’idea o occasione per maturare artisticamente e spunto per nuove idee?

2. Esecuzione e scelte interpretative (seconda trasformazione)

3. Ascolto (terza trasformazione)

Riflessioni iniziali I - 3Conseguenza• “the mode of notationnotation can be understood only

from the point of view of the desired effectdesired effect. A literal interpretation robs one of the very means leading to that effect.” (Heinrich Schenker, The art of performance, Oxford university press;

New York, 2000; p. 5)

• Dove è da cercare e dove è da trovare l’opera d’arte? Concetto di “synthesissynthesis”.– “synthesis’ is Schenker’s term for his concept of

oganic unityoganic unity, i.e., the idea of a work of art in which every part is organically related, supported by a single unifying background structure” (Heinrich Schenker, The art of performance, Oxford university press; New York, 2000; p. 20 (Translator’s note) )

Riflessioni iniziali II: seconda considerazione

• Rispetto per il compositore – (ricerca del significato profondo, originale ed

originario dell’opera)

• Rispetto per l’esecutore – (libertà interpretativa e necessità di

indipendenza)

Riflessioni iniziali II – 2: citazioni

What must be regared as the most fateful errormost fateful error in the performance of a musical work of art is the general view on the meaning of a composer’s mode of notation. That which is decreed in the notation is considered the unalterable will notation is considered the unalterable will of the composer, to be interpreted literallyof the composer, to be interpreted literally. Already the mere fact that our notation hardly represents more than neumes should lead the performer to search for the search for the meaning behind the symbolsmeaning behind the symbols. This is neglected, largely neglected, largely because of the difficultybecause of the difficulty of understanding the composer’s intention. […] One would realize that the author’s mode of notation does not indicate his directions for the does not indicate his directions for the performance but, in a far more profound sense, represents performance but, in a far more profound sense, represents the effect he wishes to attainthe effect he wishes to attain. These are two separate things.” (Heinrich Schenker, The art of performance, Oxford university press; New York, 2000; p. 5)

Riflessioni iniziali II – 3: citazioni

• In the end, what matters is the ability to hear and evaluate all the effects of one’s own playing.” (Heinrich Schenker, The art of performance, Oxford university press; New York, 2000; p. 78)

• “their music is performed correctly only if it is played with utmost freedom” (Heinrich Schenker, The art of

performance, Oxford university press; New York, 2000, p. 70)

• “a nonrhetorical performance […] is no performance at all” (Heinrich Schenker, The art of performance, Oxford university press; New

York, 2000, p. 70)

Riflessioni iniziali II – 4:citazioni

Only if the performer is fully aware of the fully aware of the desired effectdesired effect will he be able to convey it. This effect then serves to justify any means he might use to produce it. The psychology of this fact is so compelling that even mistakenly desired effects become tolerable when the performer conveys them with awareness and convictionconviction. Only that result which the player produces involuntarily, with no notion of why and wherefore, is rejected.” (Heinrich Schenker, The art of performance, Oxford

university press; New York, 2000; p. 78)

II parte

Le proposte di Le proposte di SchenkerSchenker

Proposte di Schenker

1. Legato

2. Nuances del tempo

Legato1. “Legato technique is by far the most difficultthe most difficult and

complicated manner of playing for the pianistmanner of playing for the pianist.”2. Sul legato “oggettivo”: “the pianist must continue holding continue holding

the first notethe first note even after the d2 has been played”3. “At times certain ways of dissembling can help to give certain ways of dissembling can help to give

an impression of legatoan impression of legato even where, strictly speaking, legato is impossible”

4. “the impression of legatoimpression of legato can be created even without actual legato playing”

5. A proposito del “legato of double notes or chordslegato of double notes or chords”: “In such cases, it is entirely sufficient to use a legato fingering in the upper or, where appropriate, lower voice of the interval in question. At any rate, this “one-sided” legato will stimulate legato in all voices.”

Legato, esempi

• Pti. 3 & 4: Sostakovic, Preludi op. 34, XVII

Legato, esempi

• Pto. 5

Legato, esempi

• Pto. 5Schumann, Phantasiestücke op. 12, IV. Grillen

Tempo, 1. Considerazioni generali

– “there is nono such thing as an absoluteabsolute allegro comodo – the content of the music alone must determine how it can serve to attain allegro comodo.”

– “Tempo is also related to texturerelated to texture: the same piece must be executed in a different tempo depending on whether it is being played with a heavy or less heavy sound.”

Tempo 2, spirito del brano vs. metronomo, 1 – 0

• “One thing is essential: in a given piece, the tension must be maintainedtension must be maintained throughout. This must not result in using meter mechanically to ensure the flow of music, the means that keep the piece in keep the piece in motion are of inner naturemotion are of inner nature, not of a superficially metric one. The impulse must impulse must renew itself continually from withinrenew itself continually from within.”

Tempo 3, libertà

• “A balanced tempo throughout a piece does not exclude freedom”

Tempo 4, disponibilità al cambiamento

1. “…the quarter notesquarter notes, given their lack of rhythmic variation, would appear rather empty and therefore weakweak. Thus we conclude that the desired effect requires hurryinghurrying – a requirement that notation is unable to unable to indicateindicate.”

2. “It follows that there are particular circumstancesparticular circumstances in composition that obligeoblige the performer to make tempo tempo modificationsmodifications. This is to avoid a totally different effectto avoid a totally different effect from that intended by him and by the composer on the listener, who at all times is the object and measureall times is the object and measure of the effect. It is precisely such dissembling that can fulfil the intended effect.”

3. “BalanceBalance is established through the contrast of pushing contrast of pushing ahead/holding backahead/holding back, holding back/pushing ahead […] Such alternation results in the illusion of a strict tempoillusion of a strict tempo”

Tempo 4, disponibilità al cambiamentoEsempi

• Pto. 2

Tempo 4, disponibilità al cambiamento Esempi

• Pto. 3

Tempo 4, disponibilità al cambiamento - 2

4. “…want expressive treatmentwant expressive treatment; without pushing ahead – holding back, this would be impossible.”

5. “Each new rate of motionnew rate of motion, sixteenths after eights, thirty-seconds after sixteenths, et cetera – and vice versa – must be introduced as clearly must be introduced as clearly as possibleas possible. For this purpose it is necessary to play very first notes of the new rhythmic pattern a little slower than the absolute strictness of the metronome would demand. The reason for this rule, which has no exception, derives from the effect on the listener: if the tempo were maintained with metronomic precision, without considering the listenermaintained with metronomic precision, without considering the listener, the newly introduced motion would prevent his immediate understanding precisely because of the regularity of thempo. It is thus the listener who requires a comfortable moment’s lingering in order to comprehend the change of rhythm. If this is not provided for him by the performer, his ear cannot simply adjust; he gets the impression that the performer is rushing. It follows that a performance in the strictest tempo It follows that a performance in the strictest tempo does not seem thus to the listenerdoes not seem thus to the listener.”

Tempo 4, disponibilità al cambiamento - 3

6. “After the weak beat – in moving to the next strong one – one must hesitatehesitate. This slowing down serves not only to restore the regular to restore the regular pace but also, far more, as a contrastpace but also, far more, as a contrast to the preceding rushing.”

7. “…vivid means […] seem to set even the set even the tiniest part of the whole into intense tiniest part of the whole into intense vibrationvibration; the contentthe content, which otherwise would simply be annihilated by the pattern, lives and breatheslives and breathes.”

Tempo, disponibilità al cambiamento – 3Esempi

• Pto. 6

Indice

4. Esperimenti (v. introduzione iniziale!)

1) Metodo, necessità

2) Realizzazione concreta

5. Sistema nervoso centrale umano

6. Percezione:

a) percezione uditiva

b) percezione ottica ed illusioni ottiche

6.a) Orecchio

6.a) Orecchio, 2

6.a) Orecchio, 3

6.a) Orecchio, 3

III parte

6.b) + 7.a) = 6.b) + 7.a) = Meccanismi Meccanismi percettivipercettivi

Meccanismi percettivi

1. Introduzione1. Fisiologia dei contrasti

2. Aspettative1) Integrazione con altre modalità

2) Esperienzea) Prima componente: esperienze comuni

b) Seconda componente: esperienze soggettive

2. Esempi di illusioni ottiche

Illusioni ottiche

1. Contrastia) Sistema a centro e periferia, b/n

1) Illuminazione centro/periferia2) Illuminazione in movimento3) Quadrati4) Griglia di Herrmann

b) Sistema a centro e periferia, colori1) Illuminazione centro/periferia2) “Nachbilder”

2. Aspettative

Sistema a centro e periferia

Illuminazione centro/periferia

Illuminazione in movimento

Quadrati

Griglia di Herrmann

Griglia di Herrmann, spiegazione

Sistema centro periferia, visione a colori (“fotopica”)

Illuminazione a centro/periferia

“optische Nachbilder”

Nachbilder, spiegazione

• Concetto nuovo: adattazione– Def.: ad uno stimolo ripetuto o prolungato la

cellula nervosa risponde in modo diminuito.

Nachbilder, spiegazione

Nachbilder, spiegazione

Cap. 2: Aspettative

Aspettative

IV parte

7.b) + 8. = 7.b) + 8. = Ipotesi di Ipotesi di

spiegazione e spiegazione e conclusioneconclusione

Cosa potrebbe succedere a livello dell’udito?

• Annotazione: musicista è un caso particolare!

• Spiegazione del legato

• Spiegazione del tempo

Spiegazione del legato

• Associazione!

accentuazione

timbro

slancio fraseggiopedale

(gesti)

Conclusioni

• Interesse di questo tipo di ricerca

• Avvertenza: attenzione!

• Natura soggettiva

• Conclusione

1) Proposte di Schenker

2) Riflessioni iniziali

Grazie per Grazie per l’attenzione!l’attenzione!

Sebastiano Lava