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ABSTRACT. On Schroeder’s reading, Schubert illustrates both piano and vocal parts as singing voices, in unison, one the extension of the other, and in intimate imitative counterpoint. Berman examines Prokofiev’s approach to the piano, both as a composer and as a performer of his own works. Sandor claims that the mechanics of piano playing ought to be completely painless, enjoyable, and gratifying whether one practices or concertizes. Chaffin et al. hold that every soloist lives with the threat of performance anxiety and memory failure which can disrupt and destroy the aesthetics of a musical moment. Kinderman argues that Beethoven’s use of severe contrasts becomes a means of welding sections or movements into a larger narrative sequence with symbolic implications. (pp. 115–119)

 

GABRIELA MUNTEANU
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Spiru Haret University

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