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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Die pianis as vertoonkunstenaar : die Chinese virtuoos-pianis Lang Lang se populêre sukses : geesteswetenskappe

 

Abstract

Dit is duidelik dat Lang Lang se populariteit, wat selfs tot buite die sfeer van klassieke musiek strek, hom 'n uitsonderlike figuur as klassieke pianis in 'n populêremusiek-gedrewe bedryf maak. Benewens talle gepubliseerde onderhoude, artikels en resensies is daar tot op hede nog geen poging aangewend om Lang Lang se omstrede uitvoeringstyl omvattend te ondersoek nie. Die doel van hierdie studie is dus om die unieke samestelling van Lang Lang as uitvoerende kunstenaar na te speur. Die data wat gebruik is, sluit onder andere resensies, koerantberigte, tydskrifartikels, transkripsies van radio-onderhoude, gepubliseerde onderhoude, gepubliseerde CV's en outobiografieë in. Aspekte van Lang Lang se spel wat behandel word, is sy verhoogpersoonlikheid, vingervaardigheid en algemene virtuositeit, krag en uithouvermoë, gebruik van dinamiek, die invloed van sy fisieke benadering tot klavierspel op sy interpretasies, sy tempokeuse en uiteindelik sy interpretatiewe "resep". Daarna volg 'n bespreking van Lang Lang se eie sienings aangaande interpretasie. Daar is bevind dat Lang Lang as gevolg van sy opvallende virtuose tegniek alom as 'n virtuoos en uiteindelik as 'n totale vertoonkunstenaar beskou word. 'n Algemene siening is dat Lang Lang se uitgangspunt om sy besondere beheer oor tempo en klankkleur ten beste te vertoon, die samehangende struktuur van die werke wat hy uitvoer, asook tradisionele beskouings oor stylkenmerke, ondermyn. Verder is Lang Lang se uitsprake aangaande sy benadering tot interpretasie dikwels aanvegbaar en teenstrydig. Dit is egter duidelik dat hy geensins die etiket "vertoonkunstenaar" ("showman") berou nie. Hy steur hom ook geensins aan kritiek nie en is getrou aan homself in sy interpretasies.


It is clear that Lang Lang's popularity, which extends itself even beyond the sphere of classical music, has made him an extraordinary figure as a classical pianist in a popular-music-driven industry. Apart from many published interviews, articles and music reviews, there has not appeared until now an attempt at investigating extensively Lang Lang's contentious performance style. What are the characteristics which contribute to the fact that Lang Lang's pianism is regarded as unique? What makes him such an exceptional phenomenon? What are the specific qualities of a pianist who reaches fame so quickly? What is the essence of Lang Lang as a performing artist? And how do reviewers feel about his performances? The aim of this article is, therefore, to trace Lang Lang's inimitable personality as a performing artist.
The research design for this article can be described as a qualitative and ethnographic approach to an individual case study. More specifically, Babbie and Mouton's "life history" technique is applied (2001:283-7). According to Babbie and Mouton (2001:283) this type of research is characterised by intensive observation of the life of the topic of study, the use of sound recordings and interviews with friends, and the scrutiny of letters and photos. The data concerning Lang Lang employed in this study include music reviews in papers and magazines, reports in daily papers, articles in magazines, transcripts of radio interviews, published interviews, published CVs and autobiographies.
The "life history" technique is further characterised by an interest in the subjective reality of the individual, a focus on process and change, a perspective on the totality, and the use of this kind of research method as a historical and social tool (Babbie and Mouton 2001:283, 284).

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/content/litnet/9/1/EJC120262
2012-03-01
2016-12-05
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