A Technical, Musical, and Historical Analysis of Frederic Chopin's
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pastiche for Piano on Kaikhosru Shapurji Sorabji Op 6 Sheet Music
Pastiche For Piano On Kaikhosru Shapurji Sorabji Op 6 Sheet Music Download pastiche for piano on kaikhosru shapurji sorabji op 6 sheet music pdf now available in our library. We give you 4 pages partial preview of pastiche for piano on kaikhosru shapurji sorabji op 6 sheet music that you can try for free. This music notes has been read 2619 times and last read at 2021-09-28 10:12:03. In order to continue read the entire sheet music of pastiche for piano on kaikhosru shapurji sorabji op 6 you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Method, Piano Solo Ensemble: Mixed Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Opus Calidoscopium In Memory Of Sorabji Op 2 Opus Calidoscopium In Memory Of Sorabji Op 2 sheet music has been read 3180 times. Opus calidoscopium in memory of sorabji op 2 arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-26 19:02:59. [ Read More ] Pastiche 2017 Pastiche 2017 sheet music has been read 2663 times. Pastiche 2017 arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 02:51:33. [ Read More ] Virtuoso Etude No 4 In Memory Of Sorabji Nocturne Op 1 Virtuoso Etude No 4 In Memory Of Sorabji Nocturne Op 1 sheet music has been read 2729 times. Virtuoso etude no 4 in memory of sorabji nocturne op 1 arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-28 05:00:02. -
A Scientific Characterization of Trumpet Mouthpiece Forces in the Context of Pedagogical Brass Literature
A SCIENTIFIC CHARACTERIZATION OF TRUMPET MOUTHPIECE FORCES IN THE CONTEXT OF PEDAGOGICAL BRASS LITERATURE James Ford III, B.M., M.M., M.M.E. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2007 APPROVED: Kris Chesky, Committee Chair Gene Cho, Minor Professor Leonard Candelaria, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Ford III, James, A Scientific Characterization of Trumpet Mouthpiece Forces in the Context of Pedagogical Brass Literature. Doctor of Musical Arts (Performance), December 2007, 61 pp., 7 tables, 2 graphs, references, 52 titles. Embouchure dysfunctions, including those from acute injury to the obicularis oris muscle, represent potential and serious occupational health problems for trumpeters. Forces generated between the mouthpiece and lips, generally a result of how a trumpeter plays, are believed to be the origin for such problems. In response to insights gained from new technologies that are currently being used to measure mouthpiece forces, belief systems and teaching methodologies may need to change in order to resolve possible conflicting terminology, pedagogical instructions, and performance advice. As a basis for such change, the purpose of this study was to investigate, develop and propose an operational definition of mouthpiece forces applicable to trumpet pedagogy. The methodology for this study included an analysis of writings by selected brass pedagogues regarding mouthpiece force. Finding were extracted, compared, and contrasted with scientifically derived mouthpiece force concepts developed from scientific studies including one done at the UNT Texas Center for Music & Medicine. -
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors
Models of Octatonic and Whole-Tone Interaction: George Crumb and His Predecessors Richard Bass Journal of Music Theory, Vol. 38, No. 2. (Autumn, 1994), pp. 155-186. Stable URL: http://links.jstor.org/sici?sici=0022-2909%28199423%2938%3A2%3C155%3AMOOAWI%3E2.0.CO%3B2-X Journal of Music Theory is currently published by Yale University Department of Music. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/yudm.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Mon Jul 30 09:19:06 2007 MODELS OF OCTATONIC AND WHOLE-TONE INTERACTION: GEORGE CRUMB AND HIS PREDECESSORS Richard Bass A bifurcated view of pitch structure in early twentieth-century music has become more explicit in recent analytic writings. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years. -
Part 3- a Sequential Approach to Etudes
Part Three: A Sequential Approach to Etudes by Robert Jesselson The first two parts of this series discussed the benefits of employing an organized and sequential approach for teaching the intermediate string player. With this method the string teacher can create a solid technical and musical foundation for the student, and avoid skipping over important information that will be required for his/her future growth. Part One explored the complex set of skills, knowledge and experiences that a developing string player needs to acquire in order to become a competent musician and creative artist. Part Two of this series discussed the use of organized exercises to address specific aspects of the technique. These exercises, along with the ubiquitous scales and arpeggios that musicians need to master, are the basic building blocks of technique. Etudes then expand on the micro-technique of the exercises. They begin to put the technical pieces together into musical shapes, and should be approached both technically and musically. The current article will explore the importance of providing a good sequence of etudes in order to solidify the technique and facilitate the learning of literature. The repertoire of cello etudes is large and varied, with many excellent studies from which to choose. Besides Duport, Dotzauer, Lee, Popper, Franchomme, Piatti, and Servais, we have etudes by Gruetzmacher, Kummer, Klengel, Merk as well as contemporary etudes by Minsky and others. There are also collections of etudes compiled by pedagogues such as Alwin Schroeder. Although I use individual etudes by all of these composers to address specific issues, I prefer to use a succession of complete etude books in order to immerse the students in a specific technical and stylistic approach by one composer at a time. -
Mathematical Analysis of the Music of Johann Sebastian Bach
East Texas Baptist University School of Fine Arts Department of Music The Two-Part and Three-Part Inventions of Bach: A Mathematical Analysis Honors Project By Jennifer Shafer Dr. Randall Sulton, Project Supervisor Committee Members: Dr. Virginia Lile Boaz, Dr. Melissa Reeves Marshall, Texas March 2010 1 Introduction Benoit B. Mandelbrot‟s book The Fractal Geometry of Nature was published in 1983. This publication updated and replaced two earlier works from 1975 and 1977 and codified his theory of fractal geometry as a new branch of mathematics. As a result of the creation of fractal geometry in the world of mathematics, music theorists have since created new techniques for analyzing music. These methods include study of fractal structure, fractal dimension, strange attractors in music, and Fourier analysis of musical lines. For my own research in this area, I chose to analyze the fifteen Two-Part Inventions and fifteen Three-Part Inventions of Johann Sebastian Bach (1685-1750).1 Each of these pieces can “be defined as a short contrapuntal work centering around the development of material from one or two motives”.2 While each piece has a unique motive, the compositional technique is the same, making all thirty pieces musically and technically different but similar in style. I based my analysis on two primary sources: “Fractal Geometry of Music,” a 1993 article by Kenneth J. and Andreas J. Hsu, and Fractals in Music: Introductory Mathematics for Musical Analysis, published in 2007 by Charles Madden. Both sources suggested new methods of musical analysis, some of which I chose to use in my research. -
Harmonic Dualism and the Origin of the Minor Triad
45 Harmonic Dualism and the Origin of the Minor Triad JOHN L. SNYDER "Harmonic Dualism" may be defined as a school of musical theoretical thought which holds that the minor triad has a natural origin different from that of the major triad, but of equal validity. Specifically, the term is associated with a group of nineteenth and early twentieth century theo rists, nearly all Germans, who believed that the minor harmony is constructed in a downward ("negative") fashion, while the major is an upward ("positive") construction. Al though some of these writers extended the dualistic approach to great lengths, applying it even to functional harmony, this article will be concerned primarily with the problem of the minor sonority, examining not only the premises and con clusions of the principal dualists, but also those of their followers and their critics. Prior to the rise of Romanticism, the minor triad had al ready been the subject of some theoretical speculation. Zarlino first considered the major and minor triads as en tities, finding them to be the result of harmonic and arith metic division of the fifth, respectively. Later, Giuseppe Tartini advanced his own novel explanation: he found that if one located a series of fundamentals such that a given pitch would appear successively as first, second, third •.• and sixth partial, the fundamentals of these harmonic series would outline a minor triad. l Tartini's discussion of combination tones is interesting in that, to put a root un der his minor triad outline, he proceeds as far as the 7:6 ratio, for the musical notation of which he had to invent a new accidental, the three-quarter-tone flat: IG. -
Two Etudes by Unsuk Chin: No
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Two Etudes by Unsuk Chin: No. 1, in C, and No. 6, Grains, for Piano Doori Yoo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TWO ETUDES BY UNSUK CHIN: NO. 1, IN C, AND NO. 6, GRAINS, FOR PIANO By DOORI YOO A Treatise submitted to College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2013 Doori Yoo defended this treatise on February 5, 2013. The members of the supervisory committee were: Read Gainsford Professor Directing Treatise Michael Buchler University Representative Joel Hastings Committee Member Timothy Hoekman Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ! ACKNOWLEDGEMENTS My first and deepest thanks go to God, who is my constant source of strength. My entire life, including this very treatise, reveals His faithfulness. I would like to express my very special gratitude to my major professor, Dr. Read Gainsford. I could not have completed this treatise without his many hours of help and guidance. I am ever grateful for the support that I had from this incredible artist. Because of his excellent teaching, my doctoral studies were both fruitful and tremendously enjoyable. The ingredients for his teaching always included knowledge, curiosity, creativity, openness, as well as genuine care for his students. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein Iolinv Methods
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein iolinV Methods. Allan Riggs Fuller Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Fuller, Allan Riggs, "Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein ioV lin Methods." (1974). LSU Historical Dissertations and Theses. 8156. https://digitalcommons.lsu.edu/gradschool_disstheses/8156 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. ^'SYNOPSES, COMPARISONS, AND EVALUATIONS OF THE LEOPOLD AUER AND ERICH DOFLEIN VIOLIN METHODS / A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Allan Riggs Fuller B.M., Central College, 1953 M.M,, University of Rochester, 1956 December, 1974 UMI Number: DP69543 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69543 Published by ProQuest LLC (2015). -
University of Oklahoma Graduate College Analyses
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ANALYSES OF ORGAN ETUDES OPP. 38, 66 AND 72 BY RACHEL LAURIN A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By SILVIYA MATEVA Norman, Oklahoma 2016 ANALYSES OF ORGAN ETUDES OPP. 38, 66 AND 72 BY RACHEL LAURIN A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. John Schwandt, Chair ______________________________ Dr. Sarah Ellis ______________________________ Dr. Eugene Enrico ______________________________ Dr. Vicki Schaeffer ______________________________ Dr. Maeghan Hennessey © Copyright by SILVIYA MATEVA 2016 All Rights Reserved. Table of Contents List of Tables …………………………………………………………………………... v List of Examples …………………………………………………………………….…. v Abstract ……………………………………………………………………………… viii Introduction………………………….………………………………………………..... 1 Chapter 1: Rachel Laurin: Biography.……..…………………………………………… 2 Chapter 2: Ken Cowan and Isabelle Demers: The relationship between composer and commissioners……...…..……………………………………………….…….... 9 Chapter 3: Analyses of Etudes Opp. 38, 66 and 72….………………………………... 19 Étude Héroïque, Op. 38……………………………………………………….. 21 Étude-Caprice, Op. 66………………………………………………………… 44 Symphonic Etude for Solo Pedal, Op. 72……………………………………... 64 Chapter 4: Conclusion……….....…………………………………………………..... 101 Bibliography…………………………………...…………………………………...... 106 Appendix: Organ Works by Rachel Laurin………………………………………….. 107 iv List of Tables Table 1. Op. 38, section outline ………………………………………………….…… 22 Table 2. Op. 66, section outline ………………………………………………...…….. 45 Table 3. Op. 72, Isabelle Demers’ name inscription in variation titles ……………..... 65 Table 4. Op. 72, tonal and metrical outline of the variations ………………………… 99 List of Examples Example 1. Op. 38, mm. 1-8 …………………………………………….…………… 24 Example 2. Op. 38, mm. 15-17 ………………………………………………………. 25 Example 3. Op. 38, mm. 24-31 ………………………………………………………. 26 Example 4. Op. 38, mm. 34-38 ………………………………………………………. 28 Example 5. Op. 38, mm. 38-43 ………………………………………………………. 29 Example 6. Op. 38, mm.