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Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES 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 Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St. -
INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). -
Jacques Butler “Jack”
1 The TRUMPET of JACQUES BUTLER “JACK” Solographer: Jan Evensmo Last update: July 7, 2019 2 Born: April 29, 1909 Died: 2003 Introduction: There is no doubt: Jacques Butler was well known in the Norwegian jazz community, because he was visiting Oslo in 1940 and recorded one 78 rpm. together with our own best jazz performers. So, we grew up with him! History: Raised in Washington, D.C., studied dentistry at Howard University, began playing trumpet at the age of 17. Moved to New York City, worked with Cliff Jackson in the late 1920s, with Horace Henderson (1930-1). Led own band (in New York and on tour) 1934-35, worked with Willie Bryant, then to Europe. Joined Willie Lewis band (late 1936), worked mainly with Willie Lewis until 1939, then toured Scandinavia from June 1939. Was in Norway at the commencement of World War II, returned to the U.S.A. in April 1940. Led own band, worked with Mezz Mezzrow (spring 1943), with Art Hodes (summer 1943- 44), with Bingie Madison (1945), with bassist Cass Carr (summer 1947). Worked in Toronto, Canada (1948). Returned to Europe in late 1950, led own band on various tours, then played long residency at ‘La Cigale’, Paris, from 1953 until returning to the U.S.A. in 1968. Still plays regularly in New York (at the time of writing). Appeared in the film ‘Paris Blues’ (1961). (ref. John Chilton). 3 JACK BUTLER SOLOGRAPHY SAMMY LEWIS & HIS BAMVILLE SYNCOPATORS NYC. June 14, 1926 Edwin Swayze (cnt, arr), Jack Butler (cnt, cl?), Oscar Hammond (tb), Eugene Eikelberger (cl, as), Paul Serminole (p), Jimmy McLin (bjo), Lester Nichols (dm), Sammy Lewis (vo). -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
The Highest Note in the Century Since His Birth, Duke Ellington Has Been the Most Important Composer of Any Music, Anywhere Blumenthal, Bob
Document 1 of 1 The highest note In the century since his birth, Duke Ellington has been the most important composer of any music, anywhere Blumenthal, Bob. Boston Globe [Boston, Mass] 25 Apr 1999: 1. Abstract The late Duke Ellington, whose 100th birthday will be celebrated on Thursday, disliked the word "jazz." As he famously remarked, the only subsets of music he recognized were good and bad. Rather than stress categorical distinctions, Ellington preferred to celebrate artists and works that were, in another of his oft-quoted phrases, "beyond category." The magnitude of Ellington's legacy should be clear to all who can hear, and even to those who can only count. Just look at the numbers. From 1914, when he wrote "Soda Fountain Rag" as an aspiring pianist in his native Washington, D.C., until shortly before his death, on May 24, 1974, Ellington was responsible for nearly 2,000 documented compositions. From 1923, when he first gained employment in New York for his Washingtonians at Barron Wilkins's Harlem nightclub, he kept an orchestra together through boom andbust. The notion of writing for specific individuals as part of an ensemble reached its highest form of expression with Ellington. Rather than simply creating music for a three-piece trombone section, he crafted lines that fit the plungered growl of Joe "Tricky Sam" Nanton, the fluency of Lawrence Brown, and the warmth of Jual Tizol's valved instrument; and he applied this practice to every chair in the band. This led Ellington to collect musicians whose "tonal personality" (another favor-ite image) inspired him, ratherthan those who might simply blendinto an undifferentiated orchestral mass. -
Orchestral Conducting in the Nineteenth Century," Edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds
Performance Practice Review Volume 21 | Number 1 Article 2 "Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Performance Commons, and the Other Music Commons Brown, Clive (2016) ""Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai," Performance Practice Review: Vol. 21: No. 1, Article 2. DOI: 10.5642/perfpr.201621.01.02 Available at: http://scholarship.claremont.edu/ppr/vol21/iss1/2 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Book review: Illiano, R., M. Niccolai, eds. Orchestral Conducting in the Nineteenth Century. Turnhout: Brepols, 2014. ISBN: 9782503552477. Clive Brown Although the title of this book may suggest a comprehensive study of nineteenth- century conducting, it in fact contains a collection of eighteen essays by different au- thors, offering a series of highlights rather than a broad and connected picture. The collection arises from an international conference in La Spezia, Italy in 2011, one of a series of enterprising and stimulating annual conferences focusing on aspects of nineteenth-century music that has been supported by the Centro Studi Opera Omnia Luigi Boccherini (Lucca), in this case in collaboration with the Società di Concerti della Spezia and the Palazzetto Bru Zane Centre de musique romantique française (Venice). -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15
ellington 101 a beginner’s guide Vital Statistics • One of the greatest composers of the 20th century • Composed nearly 2,000 works, including three-minute instrumental pieces, popular songs, large-scale suites, sacred music, film scores, and a nearly finished opera • Developed an extraordinary group of musicians, many of whom stayed with him for over 50 years • Played more than 20,000 performances over the course of his career • Influenced generations of pianists with his distinctive style and beautiful sound • Embraced the range of American music like no one else • Extended the scope and sound of jazz • Spread the language of jazz around the world ellington 101 a beginner’s guide Table of Contents A Brief Biography of Duke Ellington 4 Meet the Ellingtonians 9 Additional Resources 15 Duke’s artistic development and sustained achievement were among the most spectacular in the history of music. His was a distinctly democratic vision of music in which musicians developed their unique styles by selflessly contributing to the whole band’s sound . Few other artists of the last 100 years have been more successful at capturing humanity’s triumphs and tribulations in their work than this composer, bandleader, and pianist. He codified the sound of America in the 20th century. Wynton Marsalis Artistic Director, Jazz at Lincoln Center Ellington, 1934 I wrote “Black and Tan Fantasy” in a taxi coming down through Central Park on my way to a recording studio. I wrote “Mood Indigo” in 15 minutes. I wrote “Solitude” in 20 minutes in Chicago, standing up against a glass enclosure, waiting for another band to finish recording. -
A Study of Music As an Integral Part
A Study of Music as an Integral Part of the Spoken Drama in the American Professional Theatre: 1930-1955 By MAY ELIZABETH BURTON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA August, 1956 PREFACE This is a study of why and how music is integrated with spoken drama in the contemporary American professional theatre. Very little has been written on the subject, so that knowledge of actual practices is limited to those people who are closely associated with commercial theatre-- composers, producers, playwrights, and musicians. There- fore, a summation and analysis of these practices will contribute to the existing body of knowledge about the contemporary American theatre. It is important that a study of the 1930-1955 period be made while it is still contemporary, since analysis at a later date would be hampered by a scarcity of detailed production records and the tendency not to copyright and publish theatre scores. Consequently, any accurate data about the status of music in our theatre must be gathered and re- corded while the people responsible for music integration are available for reference and correspondence. Historically, the period from 1930 to 1^55 is important because it has been marked by numerous fluc- tuations both in society and in the theatre. There are evidences of the theatre's ability to serve as a barometer of social and economic conditions. A comprehension of the ii degree and manner in which music has been a part of the theatre not only will provide a better understanding of the relationship between our specific theatre idiom and society, but suggests the degree to which it differs from that fostered by previous theatre cultures. -
Boston Symphony Orchestra Concert Programs, Summer, 1983, Tanglewood
. ^ 5^^ mar9 E^ ^"l^Hifi imSSii^*^^ ' •H-.-..-. 1 '1 i 1^ «^^«i»^^^m^ ^ "^^^^^. Llii:^^^ %^?W. ^ltm-''^4 j;4W»HH|K,tf.''if :**.. .^l^^- ^-?«^g?^5?,^^^^ _ '^ ** '.' *^*'^V^ - 1 jV^^ii 5 '|>5|. * .««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled. Afulfillment of every vacation delight . executive conference fancy . and elegant home dream. A choice for a day ... a month . a year. Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience. Foxhollow . an tver growing select family. Offerings in: Vacation Homes, Time- Shared Villas, Conference Center. Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent George H.A.