This paper investigates how a performer might engage with the construction of narrative experiences in and through the performance of the Second Movement of Schubert’s Piano Sonata in A Major, D959. The investigation is based on the understanding of the role of the performer as narrator in the performance of early nineteenth-century piano music in general and Schubert’s Piano Sonata in A Major, D959, in particular. In addition to considering aspects of the musical context in Schubert’s own time, this article will shed light on a ‘paradigm shift’ between what Lawrence Zbikowski termed ‘static form’ and ‘dynamic form’. The traditional large-scale form, such as sonata-form, represents the ‘static form’ which consists of balanced structure built from regular sub-units with clear harmonic connections between each other. The ‘dynamic form’ was conceived as ‘form as process’ where the emphasis was given to a performer in defining the musical structure throughout .....

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Although research has been conducted on the musical compositions of Tazul Izan Tajuddin, the focus has mainly been on the musical analysis of the composition itself. Supporting material such as performance guidelines on how to perform Tazul's compositions effectively is lacking. This paper focuses on the performance guidelines on a solo piano work, Kabus Pantun (2018). As a newly commissioned work, the complexity of musical material presented in Kabus Pantun appears to suggest that different playing techniques are required. Studying music of this "experimental" kind, where playing techniques owe little or nothing to the techniques of traditional repertoire, forces one to rethink one's approach to learning and practice; a performer may need to find alternative strategies to perform these contemporary pieces effectively, particularly in the execution of the notes. Encapsulated within Tazul's Kabus Pantun (2018), this article also attempts to elucidate how John Rink's idea of a performer'.....

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The investigation is based on the understanding of the role of the performer as narrator in the  performance of early nineteenth-century piano music in general and Schubert's  Piano Sonata in A  Major, D959, in particular. In addition to considering aspects of the musical and   cultural    context   as   well   as   piano   construction   in   Schubert's   own   time,   this dissertation   highlights  and  examines  two  general  areas.  The  first  area  contains  three central  themes  -  tempo, articulation  and dynamics. The second  area will shed  light on a 'paradigm  shift'   between  what  Lawrence  Zbikowski  termed  'static  form'  and  'dynamic form'. The traditional  sonata-form  represents the 'static form'  which consists of balanced structure  built  from   regular  sub-units  with  clear  harmonic  connections  between  each other. The  'dynamic  form'   was conceived  as 'form  as proc.....

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