Can Rhetoric Performance Practices and Music-as-speech Contribute to New Interpretation of Contemporary Classical Music?
Can the rhetorical principles from Middle Europe from 1500 till 1800, including the doctrine of affections and figures, be used as parameters and be translated into phrases and articulation in the musical context of today?
What kind of links can be established between what Casals calls “the old natural laws of music” and the rhetorical practices of pre-romantic interpretations?
How can I develop and internalize my own interpretative language in performance of Contemporary Music, inspired by music-as-speech?
