CONCLUSIONS

To begin with, I would like to speak about the conclusions I identified in myself. The main purpose of this research was to see the differences in my playing. There are differences, but less than what I thought initially. In the last few years, I have been working to become more flexible and versatile, but the results of the research show that I need to continue working on it. It could be very interesting to repeat this experience with more musicians, being able to compare the effects in other artists.

I would also like to speak about the work with the dancer. I had experience with dancers before, but not in a creative environment. I concluded that dancers listen to music substantially different than musicians. Out of the instrumental technique, her listening was much more poetical and magical than mine. It is also interesting to say that the way of counting bars varies a lot. She had a preference for counting 8 bars every time, even if the music sentence was longer or shorter.

During the creation of the choreography, I had to explain to the dancer every passage. When I spoke about the composition technique, it was hard to understand for a non-musician. However, when I tried to explain it easier, the explanation became too simple and basic. I found out that it is important to know the common features between the two art disciplines in order to communicate with another artist. 

A very important part of this chapter is to speak about the conclusions I uncovered while performing and recording the piece for the second time. I felt more distance with the piano and that helped me to listen more and better. I understood the composition better and I had a solid structure feeling. The fact that I explained the music to another person forced me to have a clear idea of what I wanted. However,  I played less accurate and my performance had more wrong notes in the second recording

About the the differences between my performances, most of them were linked to time and tempo. On the second recording, transitions were slower than the first one. Also, passages with high dynamics (forte and mezzoforte) were slower than before. This is due to the fact that dancers work with tempo and space. In music the sense of space is imaginary. However, some big movements of the dancer made my performance broader, and as a conclusion, slower.