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By Alison Hood

Song idea is frequently noticeable as self sufficient from - even antithetical to - functionality. whereas tune conception is an highbrow firm, functionality calls for an intuitive reaction to the song. yet this binary competition is a fake one, which serves neither the theorist nor the performer. In analyzing Chopin Alison Hood brings her adventure as a performer to undergo on modern analytical versions. She combines major elements of present analytical methods and applies that particular man made option to chosen works through Chopin, casting new gentle at the composer s preludes, nocturnes and barcarolle and elevating interpretive questions of significant curiosity to performers.

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Bach’s Two-part Invention in C major’, In Theory Only 7, no. 1 (1983), pp. 31–45. 22 interpreting chopin: analysis and performance ... to use the durational reductions only where they reveal important features of the piece more clearly than other methods would. And, where necessary, to offset their deficiencies by using them together with voice-leading graphs. 29 My approach to grouping also has much in common with Schachter’s, and is usually based on harmonic or tonal movement (for example, stepwise motion and leaps) or identification of rhythmic or tonal patterns that define groups.

Joel Lester, The Rhythms of Tonal Music (Carbondale, IL: Southern Illinois University Press, 1986). 13 Jonathan Kramer, The Time of Music: New Meaning, New Temporalities, New Listening Strategies (New York: Schirmer, 1988), p. 117. 10 11 12 rhythm 17 existence. This approach to metre can be compared to Larson’s. 15 He stipulates, however, that the mere existence of an association does not necessarily guarantee that it will be perceived. The act of hearing a passage of music as containing an association I call ‘associative hearing’.

1 Chopin’s Compositional Techniques My focus on rhythm casts new light on many of Chopin’s compositional techniques and allows us to say much about the music that seems of real interpretive value. Some of the techniques revealed using this approach include hidden repetitions with a rhythmic as well as tonal profile, strategies based on finding the ‘natural’ metric organization of motifs, and the use of tonal and metric ambiguity in the service of dramatic narrative. Hidden Repetitions with a Rhythmic as well as Tonal Profile Many scholars have discussed hidden repetitions of pitch patterns,2 but in Chopin’s music such hidden repetitions may also have a rhythmic profile.

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