Iatc music criticism seminar
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Dennis Wu presented on music criticism and how to analyze and evaluate musical performances. He discussed that music criticism involves describing and evaluating music in a way that is relevant to assessing the performance. He provided examples of classical pieces and discussed how to analyze elements like vocal technique, diction, emotion, tempo, dynamics and more. Wu emphasized the importance of understanding the music and style before critiquing and explained how to write objectively, support judgments with reasons, and ask questions about the musician's preparation and understanding of the piece.
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Iatc music criticism seminar
- 1. Performing Arts Criticism Project for Senior Secondary Students Music Criticism Dennis Wu Copyright © 2011 Dennis Wu. All rights reserved.
- 2. About the speaker Dennis Wu Music writer, critic and manager Studied music in Hong Kong Critic at Hifi Review Hifi
- 3. What is Music Criticism? Photo by Grievous Angel
- 4. New Grove Encyclopedia of Music “Music criticism is a type of thought that evaluates music and formulates descriptions that are relevant to evaluation.”
- 5. Photo by Grievous Angel
- 6. Evaluate Music Photo by Grievous Angel
- 7. Evaluate Music Formulate Description of Evaluation Photo by Grievous Angel
- 8. Music 1 “Nessun Dorma” from Puccini Turandot
- 9. Music 1 “Nessun Dorma” from Puccini Turandot Giacomo Puccini (1858-1924) An aria from an opera
- 10. Discussion
- 11. Discussion How do the singers use their voice? Do they use the voice naturally?
- 12. Discussion How do the singers use their voice? Do they use the voice naturally? How do they manage the words of the music?
- 13. Discussion How do the singers use their voice? Do they use the voice naturally? How do they manage the words of the music? How do they manage the emotion of the music?
- 14. Discussion How do the singers use their voice? Do they use the voice naturally? How do they manage the words of the music? How do they manage the emotion of the music? How do the audience respond?
- 15. “Nessun Dorma”
- 16. “Nessun Dorma”
- 17. “Nessun Dorma”
- 18. Ed il mio bacio scioglierà And my kiss will dissolve il silenzio the silence che ti fa mia! that makes you mine! Dilegua, o notte! Vanish, o night! Tramontate, stelle! Set, stars! Tramontate, stelle! Set, stars! All'alba vincerò! At dawn, I will win! vincerò, vincerò! I will win! I will win! “Nessun Dorma”
- 19. Discussion How do the singers use their voice? Do they use the voice naturally? How do they manage the words of the music? How do they manage the emotion of the music? How do the audience respond?
- 20. Discussion How do the singers use their voice? Do they use the voice naturally? Vocal Technique How do they manage the words of the music? Diction How do they manage the emotion of the music? Emotion How do the audience respond? Reception
- 22. Performance reflects how well the musicians are trained in executing the music. Technical Layer of Music
- 24. Critics normally expect a high standard of execution. Technical Layer of Music
- 26. Listeners may assess a performance with different musical elements Technical Layer of Music
- 27. Musical Elements
- 29. Vocal Technique Diction Musical Elements
- 30. Vocal Technique Diction Emotion Musical Elements
- 31. Musical Elements
- 33. Instrument Technique Tempo Musical Elements
- 34. Instrument Technique Tempo Dynamic Musical Elements
- 35. Instrument Technique Tempo Dynamic Musical Elements Articulation
- 37. You have to have a sharp pair of ears But before that...
- 39. You have to know the music that you are reviewing But before that...
- 40. What music?
- 41. Photos by Grievous Angel, woodleywonderworks @ flickr, ilbloggasterzo @ Wordpress What music? In this seminar we focus on Western Classical Music.
- 42. What music?
- 43. What music? In this seminar we focus on Recorded Performances.
- 44. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non troppo
- 45. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non troppo Dmitri Shostakovich (1906-1975)
- 46. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non troppo
- 47. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non One of the glorious troppo composers in Soviet Union
- 48. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non troppo
- 49. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non Though he often faced troppo fierce political oppressions
- 50. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non troppo
- 51. Music 2 Fifth symphony is an Shostakovich: official apology in music to his Symphony No. 5 in denunciation by Soviet D minor, Op. 47 Communist Party IV. Allegro non troppo
- 52. Music 2 Shostakovich: Symphony No. 5 in D minor, Op. 47 IV. Allegro non troppo
- 53. Music 2 Shostakovich: “... resolved in Symphony No. 5 in optimism and the joy of D minor, Op. 47 living.” ... IV. Allegro non troppo Great success!
- 55. Focuses while listening How do they manage the tempo of the music?
- 56. Focuses while listening How do they manage the tempo of the music? How do they manage the loudness and softness (dynamics) of the music?
- 57. Focuses while listening How do they manage the tempo of the music? How do they manage the loudness and softness (dynamics) of the music? How do they manage the emotion of the music?
- 58. Big Question
- 59. Why do musicians perform a same piece of music differently? Big Question
- 60. Music 3 Bach: Invention No. 13 in A minor Johann Sebastian Bach (1685-1750)
- 61. Music 3 Bach: Invention No. 13 in A minor
- 62. Music 3 Bach: Invention No. 13 in A minor
- 63. Music 3 Bach: Invention No. 13 in A minor
- 64. Music 3 Bach: Invention No. 13 in A minor
- 66. Although the music is printed, every one has a different way to read the same piece of music Musical Interpretation
- 68. Performance reflects how the musicians understand the music and musical style Musical Interpretation
- 70. Performer re-creates from what is written down Musical Interpretation
- 71. Music 4 Beethoven: Symphony No. 5 in C minor, Op. 67 I. Allegro con brio Ludwig van Beethoven (1770-1827)
- 72. Music 4 Beethoven: Symphony No. 5 in C minor, Op. 67 I. Allegro con brio
- 73. Music 4 Shortly before writing, Beethoven: Beethoven considered Symphony No. 5 in suicide due to his deafness C minor, Op. 67 I. Allegro con brio
- 74. Music 4 Beethoven: Symphony No. 5 in C minor, Op. 67 I. Allegro con brio
- 75. Music 4 Beethoven: The opening musical Symphony No. 5 in idea signifies “Fate knocks the door.” C minor, Op. 67 I. Allegro con brio
- 76. Discussion How do they manage the loudness and softness (dynamics) of the music? How do they manage the emotion of the music? How do the performance relevant to the meaning of music?
- 78. Performance reflects how the musicians understand the music and musical style Musical Interpretation
- 80. Critics normally expect a competent understanding of style and context Musical Interpretation
- 81. But before that... ...
- 82. Critics are expected to have a competent understanding of style and context But before that... ...
- 83. Photo by woodleywonderworks How to write?
- 84. Photo by woodleywonderworks How to write? Describe and evaluate what you heard with words
- 85. What to write?
- 86. What to write? Analyse the technical aspect of performance
- 87. What to write? Analyse the technical aspect of performance Describe how is the music interpreted
- 88. How to write?
- 90. How to write? Principles Write objectively
- 91. How to write? Principles Write objectively When making a judgement, justify it with reason
- 92. How to write? Principles Write objectively When making a judgement, justify it with reason Taste can be personal, preference can be personal, but criticism is always rational
- 94. Write Objectively The tempo of Shostakovich’s Symphony No. 5 is performed with a very fast tempo. The finale of the Shostakovich’s Symphony No. 5 is performed with a crazy tempo.
- 95. Write Objectively The opening crescendo by the full orchestral force is solidly loud. The opening crescendo by the full orchestral force is harshly noisy.
- 96. Support with reason With its very quick tempo, the performance is one of the most exciting renditions of the symphony. The performance is one of the most exciting renditions of the symphony.
- 97. Support with reason However, the conductor picks a very quick tempo which deviates much from the composer’s intention as he has indicated in the score. However, the very quick tempo is not correct as it is quicker than normal.
- 98. Make it personal and rational Although the orchestra picks up an extreme speed that the composer might not want, this performance is a lovable one, opens a fresh perspective of explosiveness of the symphony and an added layer of irony — of the “joy” and “success” in an oppressed regime.
- 99. Conclusion
- 100. Ask more than “is the music good” or “is the music bad” Conclusion
- 101. Conclusion
- 102. Ask: “Has the musician got prepared for what one is going to perform?” Conclusion
- 103. Conclusion
- 104. Ask: “Has the musician understood the music that one is going to perform?” Conclusion
- 105. Conclusion
- 106. Ask: “Does the performance convince me as an audience?” Conclusion
- 107. Conclusion
- 108. Write your answer down. And that’s your criticism towards music. Conclusion
- 109. Conclusion
- 110. Listen as many times as you can. Conclusion
- 111. Presented by Dennis Wu This slideshow can be downloaded at: www.slideshare.net/ denniswu Thank you
Notes de l'éditeur
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- - It may be some feeling after hearing a piece of music. Feel it good or feel it bad. Feel it nice or feel it ugly. \n- Everyone has their own opinion and seems that feeling towards music is very subjective.\n- Music criticism has a long history and is a profession.\n\n\n
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- - So we are like doing an adjudicator in a singing contest.\n- Everyone of us can be an adjudicator.\n- Instead of giving marks, we write down what we hear and what we think.\n
- - So we are like doing an adjudicator in a singing contest.\n- Everyone of us can be an adjudicator.\n- Instead of giving marks, we write down what we hear and what we think.\n
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- - Hear how an Italian sings.\n
- - Hear how an Italian sings.\n
- - Hear how an Italian sings.\n
- - Hear how an Italian sings.\n
- - Hear how an Italian sings.\n
- - Hear how an Italian sings.\n
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- - 台上一刻鐘，台下十年功\n- Every note played is all tremendous effort.\n- You can easily tell if the musician is trained properly with the music he’s on hand. (e.g. Tchaikovsky 4’s Triangle)\n\n
- - Philosophically: music should be taken very seriously.\n- Realistically: I pay for the ticket.\n
- - Keyword: Technique. \n- We analyse the music with musical elements.\n- Just like fashion. How we say some “good fashion”. It’s not always about trend but some basic elements: cutting, colour, texture.\n
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- - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
- - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
- - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
- - Of course, having all these great doesn’t necessarily good -- just like having all good elements on a piece of shirt won’t make it beautiful.\n- KEYWORD: Aesthetic. \n- Change from time to time, from people to people.\n
- - Hearing is more abstract than visual.\n- BUT some are born more sensitive to sound than others.\n- So no cheating. Time will tell.\n\n
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- - We have many types of music. e.g....\n- Music criticism develops first in the western classical music tradition.\n- There has been so many famous critics in European history. [UNVAIL SLIDE]\n- I myself is a classical music critic.\n
- - We have many types of music. e.g....\n- Music criticism develops first in the western classical music tradition.\n- There has been so many famous critics in European history. [UNVAIL SLIDE]\n- I myself is a classical music critic.\n
- - Music can further be divided into “composition”, “performance”\n- “Performance” can further be divided into “live performance” or “recorded performance” [UNVAIL]\n- We only have recordings here.\n- Criticise composition requires a lot more musical knowledge.\n- From recorded performance we may have some guiding principles on how to write.\n- [BEFORE GOING ON] We focus on music today, so no video!\n
- - Music can further be divided into “composition”, “performance”\n- “Performance” can further be divided into “live performance” or “recorded performance” [UNVAIL]\n- We only have recordings here.\n- Criticise composition requires a lot more musical knowledge.\n- From recorded performance we may have some guiding principles on how to write.\n- [BEFORE GOING ON] We focus on music today, so no video!\n
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- - Composers Union. \n- Censorship.\n- Sudden death if opposing government.\n
- - Composers Union. \n- Censorship.\n- Sudden death if opposing government.\n
- - Lady Macbeth of Mtsensk.\n- Criticised by Stalin on newspaper.\n
- - Lady Macbeth of Mtsensk.\n- Criticised by Stalin on newspaper.\n
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- - 為何他們「會」有不同\n- 為何他們要「令到」演出不同\n
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- - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
- - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
- - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
- - Hewitt version.\n- Moderate speed. Mixture of legato and staccato. \n- Light use of pedal.\n
- - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
- - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
- - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
- - Gould version.\n- Very quick.\n- Sudden rit. in the middle.\n- Mainly legato.\n- No pedal.\n
- - Just like “reading” of text. Words may mean differently to different people.\n
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- - No every single performance is the same.\n- It’s different from reading a book, or looking at a picture.\n
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- - Performance B is a HIP performance.\n
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