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A Conversational Approach to Lecture Recitals City University of New York (CUNY) CUNY Academic Works Dissertations, Theses, and Capstone Projects CUNY Graduate Center 6-2021 The Art of Listening: A Conversational Approach to Lecture Recitals Javor Bracic The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/4383 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE ART OF LISTENING: A CONVERSATIONAL APPROACH TO LECTURE RECITALS By JAVOR BRAČIĆ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2021 ©2021 JAVOR BRAČIĆ All Rights Reserved ii THE ART OF LISTENING: A CONVERSATIONAL APPROACH TO LECTURE RECITALS by Javor Bračić This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. _____________________ ____________________________________ Date Norman Carey Chair of Examining Committee _____________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Dr. Norman Carey, chair Dr. Joseph N. Straus, advisor Dr. Scott Burnham, first reader Dr. Edward Klorman, reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Art of Listening: A Conversational Approach to Lecture Recitals by Javor Bračić Advisor: Joseph N. Straus Lecture recitals as the practice of pairing live music performance with verbal explication have been around since at least the end of the eighteenth century, but research on them is surprisingly scarce despite how ubiquitous they have become. What exactly are lecture recitals? Where did they originate? How are they conducted? Is there anything we could do to improve upon them? In this dissertation I not only consider these questions but also propose a new kind of lecture recital I call a conversation concert. After a brief historical overview of lecture-recitalists from Johann Nikolaus Forkel to Rob Kapilow, I showcase analysis and annotated transcripts of three of my conversation concerts from my series The Art of Listening. The takeaways from this work may serve as help and inspiration to anyone wishing to engage with the lecture recital format. iv ACKNOWLEDGEMENTS I would like to extend my sincere gratitude to all those who have contributed to the completion of this dissertation in a multitude of different ways. First and foremost, I wish to thank my advisor, Dr. Joseph Straus. You had the wisdom to nudge me towards the topic that I genuinely cared about, and you guided me with clear and supportive feedback whenever I felt like I was going in circles. I could not have wished for a better advisor! Thank you to Dr. Scott Burnham for your insightful comments and collegial spirit that sustained me and inspired me to keep going. Thank you to Dr. Norman Carey for being a continuing supportive presence throughout my years at the Graduate Center. My first meeting with you dispelled my fears about pursuing a doctoral degree and helped me make the decision to steer towards academic waters. Thank you to Dr. Edward Klorman for your time and patience, and for being a role model scholar. I would also like to thank Dr. Raymond Erickson, who heard me play in a small concert in Rhinebeck and invited me to come visit the Graduate Center for the first time. You were a continuing source of knowledge and beautiful music throughout my years there. My deepest gratitude goes to the musicians who have been my mentors throughout my student years. Richard Goode, Ursula Oppens, Pavlina Dokovka, and Karl-Heinz Kämmerling, your countless lessons, advice, inspiration, sweat, and tears, have made me who I am as an artist. To maestro Mark Shapiro I owe the teaching approach in which one never discounts the student’s mind. Your inspiring choir conducting classes were pivotal in developing my approach to lecture recitals. Most specially, I would like to thank my high school piano teacher, Prof. Jelica Kuzmin—it was you who first taught me two of the pieces, Chopin’s Nocturne Op. 27, v No. 1 and Debussy’s Pour le piano, that I chose to present to my audience and analyze in this dissertation. Your love of music, and unwavering belief in me, your sacrifice and perseverance, and your occasional stern look were the crucial catalysts of my transformation from a piano- playing child to a pianist. My eternal gratitude and love go to my entire family, and especially to my mother, Irena Bračić, who always put my happiness and success first. You never for a moment stopped selflessly and tirelessly working, through joy and pain, through war and peace, to support me, my commitment to music, and my life’s goals even when that meant putting thousands of miles between us. A warm thank you goes to Dr. Lawrence Wetzler, who has practically become my second father. Your example has been an enduring inspiration for me, and our conversations about music and life gave me the strength and resolve to devote myself to my goals. An affectionate thank you goes to my new parents-in-law, Joe and Beverly Fuller for accepting me in their wonderful family and taking good care of me during the last stretch of my writing. The person who is most responsible for this dissertation coming to fruition is my dear wife, Whitney Leigh Fuller, who listened to me practice, gave me comments, read my first drafts, corrected my silly grammar mistakes—commas and em-dashes and all—and spent countless hours rehashing the meaning of my unclear sentences, questioning my line of thinking, and helping me find my voice. You are the best partner I could have ever wished for in life! Last, but not least, I would like to thank all my audience members and everyone who has ever participated in an Art of Listening conversation concert. Your questions, thoughts, comments, and imaginative interpretations are what builds the Art of Listening. You are equal co-creators of my project, and of the meaning of music. vi TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iv ACKNOWLEDGEMENTS ............................................................................................................ v TABLE OF CONTENTS .............................................................................................................. vii LIST OF FIGURES ..................................................................................................................... viii INTRODUCTION .......................................................................................................................... 1 Background ......................................................................................................................... 1 About The Art of Listening ................................................................................................. 3 Historical Overview of Lecture Recitals ............................................................................. 7 CHAPTER ONE ........................................................................................................................... 16 Frédéric Chopin: Nocturne in C Sharp Minor, Op. 27, No.1 ............................................ 16 The Art of Listening Transcript One ................................................................................. 32 CHAPTER TWO .......................................................................................................................... 65 Claude Debussy: Prelude from the Suite Pour le Piano ................................................... 65 The Art of Listening Transcript Two ................................................................................ 75 CHAPTER THREE .................................................................................................................... 101 Robert Schumann: Kreisleriana, and The Art of Listening Transcript Three ................. 101 EPILOGUE ................................................................................................................................. 150 BIBLIOGRAPHY ....................................................................................................................... 159 vii LIST OF FIGURES Figure 1.1 The Main Theme ......................................................................................................... 18 Figure 1.2 The Side Theme ........................................................................................................... 19 Figure 1.3 Repeated Main Theme with a Second Voice .............................................................. 20 Figure 1.4 The Transition at the Beginning of the B Section ....................................................... 21 Figure 1.5 Hymn-like Theme in the B section .............................................................................. 22 Figure 1.6 The Agitato Section ..................................................................................................... 23 Figure 1.7 The Polonaise-like Theme in the end of the B Section ............................................... 24 Figure 1.8 Polonaise in A Major, Op. 40, No. 1 ........................................................................... 24 Figure 1.9 Polonaise in A
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