{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/m61bk18c4v/manifest","type":"Manifest","label":{"en":["Ferruccio Busoni as Performer and Aesthetician: An Intersection of Thought and Practice"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Erinn Knyt (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2008-03-28 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eFor many years Ferruccio Busoni (1866-1924) stood as a peripheral and somewhat controversial figure, largely neglected by musicologists. Only recently, since the centennial of his birth in 1966, has the legacy of his performances, compositions, and aesthetic writings begun to be examined with any degree of detail. Especially lacking, even today, is a critical discussion of BusoniÕs surviving recorded performances. This study seeks to fill the gap in scholarship by analyzing BusoniÕs recorded renditions of his own musical works as well as those by other composers from diverse historical periods. Specifically, it will examine the relationship between the aesthetic writings and the piano performances. Central to any consideration of this relationship is BusoniÕs belief that notated scores are only transcriptions or imperfect representations of idealized ÒoriginalÓ works that should be further \"arranged\" or realized in performance. How does this belief affect his interpretations as a performing artist in terms of the liberty taken with or the fidelity to the printed score? Performances of pieces from different historical periods, composers, and styles will be compared to determine whether and, if so, how Busoni as a performer applies his aesthetic theories and whether his approach to music of diverse eras or styles remains consistent.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eFor many years Ferruccio Busoni (1866-1924) stood as a peripheral and somewhat controversial figure, largely neglected by musicologists. Only recently, since the centennial of his birth in 1966, has the legacy of his performances, compositions, and aesthetic writings begun to be examined with any degree of detail. Especially lacking, even today, is a critical discussion of Busoni\u0026Otilde;s surviving recorded performances. This study seeks to fill the gap in scholarship by analyzing Busoni\u0026Otilde;s recorded renditions of his own musical works as well as those by other composers from diverse historical periods. Specifically, it will examine the relationship between the aesthetic writings and the piano performances. Central to any consideration of this relationship is Busoni\u0026Otilde;s belief that notated scores are only transcriptions or imperfect representations of idealized \u0026Ograve;original\u0026Oacute; works that should be further \"arranged\" or realized in performance. How does this belief affect his interpretations as a performing artist in terms of the liberty taken with or the fidelity to the printed score? Performances of pieces from different historical periods, composers, and styles will be compared to determine whether and, if so, how Busoni as a performer applies his aesthetic theories and whether his approach to music of diverse eras or styles remains consistent.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128634/file/240138","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20240504-2220384-pzm6vs.mpga"]},"duration":1996.99088,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128634/file/240138/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128634/file/240138/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/138/original/open-uri20240504-2220384-pzm6vs.mpga?1714790475","type":"Audio","format":"audio/mpeg","duration":1996.99088,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2672/collection_resources/128634/file/240138","metadata":[]}]}],"annotations":[]}]}