What Are The Limits Of Musical Expression And Who Says So episode artwork

EPISODE · Dec 9, 2018 · 1H 24M

What Are The Limits Of Musical Expression And Who Says So

from NYUAD Institute · host NYUAD Institute

2018.11.27 Most concerts feature program notes, giving an audience some kind of “back story” about the works to be performed. The assumption is that somehow knowing "more" about a piece will have an effect on one's experience listening to it. This talk combines a lecture with a performance and discussion of Gideon Klein’s Trio for Strings (1944) in order to ask questions about a composition with a particularly fraught history and explores the key question: what is the relationship between music and the rest of the world? The performance of Gideon Klein’s Trio for Strings will feature violinist Klaudia Olborska-Szymańska, violist Crosby Delaney Barret, and cellist Benjamin Truchi. Speaker Michael Beckerman, Carroll and Milton Petrie Professor of Music, Collegiate Professor of Music, NYU; Leonard Bernstein Scholar in Residence, New York Philharmonic

2018.11.27 Most concerts feature program notes, giving an audience some kind of “back story” about the works to be performed. The assumption is that somehow knowing "more" about a piece will have an effect on one's experience listening to it. This talk combines a lecture with a performance and discussion of Gideon Klein’s Trio for Strings (1944) in order to ask questions about a composition with a particularly fraught history and explores the key question: what is the relationship between music and the rest of the world? The performance of Gideon Klein’s Trio for Strings will feature violinist Klaudia Olborska-Szymańska, violist Crosby Delaney Barret, and cellist Benjamin Truchi. Speaker Michael Beckerman, Carroll and Milton Petrie Professor of Music, Collegiate Professor of Music, NYU; Leonard Bernstein Scholar in Residence, New York Philharmonic

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What Are The Limits Of Musical Expression And Who Says So

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2018.11.27 Most concerts feature program notes, giving an audience some kind of “back story” about the works to be performed. The assumption is that somehow knowing "more" about a piece will have an effect on one's experience listening to it. This...

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