Masterclasses
Masterclasses are specialty classes in which learning objectives are achieved through in-depth practice accompanied by detailed instruction. A masterclass is like an extended practice session, except the focus is specific, and the flow may break for comments and questions.
As part of my skills development, I have been watching a variety of masterclasses held by professional violinists such as Nicola Benedetti and Ray Chen. I have also watched numerous interpretation master classes by Benjamin Zander. I believe this is related to my business idea because masterclasses allow musicians to develop musically and also teaches them how to add emotion to their performances. I don't believe someone would want to hire a musician or watch a performance held by a musician who lacked emotion and didn't allow the pieces to speak. Each piece has a story or idea behind it, when being composed, which should be shown within a performance.
Benjamin Zander
Masterclasses are specialty classes in which learning objectives are achieved through in-depth practice accompanied by detailed instruction. A masterclass is like an extended practice session, except the focus is specific, and the flow may break for comments and questions.
As part of my skills development, I have been watching a variety of masterclasses held by professional violinists such as Nicola Benedetti and Ray Chen. I have also watched numerous interpretation master classes by Benjamin Zander. I believe this is related to my business idea because masterclasses allow musicians to develop musically and also teaches them how to add emotion to their performances. I don't believe someone would want to hire a musician or watch a performance held by a musician who lacked emotion and didn't allow the pieces to speak. Each piece has a story or idea behind it, when being composed, which should be shown within a performance.
Benjamin Zander
In music, Interpretation could include a combination of two things;
1. Interpreting the intentions of the composer by "observing" and "approximating" the musical directions indicated on the score given. This includes all ornamentation and articulation markings. For example, not only do you play p (quiet) or ff (very loud) according to the score where they are shown, you also determine how quiet a passage should be played, given its structural or harmonic context.
2. Applying your own ideas to how you think a piece should sound, in the absence of - or in a strategic opposition to the composer’s intent. For example, if you played different ornamentation to the ones marked on the score. This kind of interpretation requires experience and familiarity with the style of the composer and music during that specific period, so that your playing is consistent with the character of the piece.
I have personally chosen to present the following video, as the piece played is a piece that I am learning for my Grade 8 examination. It is a unaccompanied solo piece, written by Bach between 1717 and 1720.
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