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Selected Intermediate-Level Solo Piano Music Of
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis Harumi Kurihara 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 Kurihara, Harumi, "Selected intermediate-level solo piano music of Enrique Granados: a pedagogical analysis" (2005). LSU Doctoral Dissertations. 3242. https://digitalcommons.lsu.edu/gradschool_dissertations/3242 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]. SELECTED INTERMEDIATE-LEVEL SOLO PIANO MUSIC OF ENRIQUE GRANADOS: A PEDAGOGICAL ANALYSIS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in The School of Music by Harumi Kurihara B.M., Loyola University, New Orleans, 1993 M.M.,University of New Orleans, 1997 August, 2005 ACKNOWLEDGMENTS I would like to express my sincere appreciation to my major professor, Professor Victoria Johnson for her expert advice, patience, and commitment to my monograph. Without her help, I would not have been able to complete this monograph. I am also grateful to my committee members, Professors Jennifer Hayghe, Michael Gurt, and Jeffrey Perry for their interest and professional guidance in making this monograph possible. I must also recognize the continued encouragement and support of Professor Constance Carroll who provided me with exceptional piano instruction throughout my doctoral studies. -
Brahms and the Changing Piano
The Aesthetics of Textural Ambiguity: Brahms and the Changing Piano Augustus Arnone The thought beneath so slight a film Is more distinctly seen As laces just reveal the surge Or Mists the Apennine -Emily Dickinson Introduction In recent years, a number of performance practice scholars writing on Brahms's piano music have commented on the prominence of low-lying melodic lines, thickly-written accompaniments, and often dense saturation of the lower register.! For such writers these textural features constitute proof that Brahms could not have intended performance on the modern piano. Firms such as Steinway, Bechstein, and Chickering were manufacturing pianos by the early 1860s, roughly the midpoint of Brahms's life, that already exhibited most of the important design innovations that distinguish modern pianos from earlier ones, and these firms enjoyed enormous success across Europe.2 Performance practice scholars have argued that the increased power and sustain of these pianos create irreparable problems of balance and clarity in much of Brahms's music, implying that he was writing for the lighter and more transparent instruments that predate the modern piano, many of which were still manufactured up until the end of the century. The view that low-lying melodies and densely packed textures in the lower register present an undesirable muddiness on the modern piano was already being elaborated towards the end of the nineteenth century. During the last decades of Brahms's life, several treatises appeared elucidating the fundamental principles of what they proclaimed to be the "modern school of pianoforte playing." Three treatises in particular, those by Hans Schmitt (1893), Aleksandr Nikitich Bukhovtsev (1897), and Adolph Christiani (c. -
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement. -
An Analysis, a Performance Guide, and a Recording of Three Sketches and the Hour Glass by Frank Bridge
AN ANALYSIS, A PERFORMANCE GUIDE, AND A RECORDING OF THREE SKETCHES AND THE HOUR GLASS BY FRANK BRIDGE A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN MUSIC BY YOONSUNG YEO DISSERTATION ADVISORS: DR. ROBERT PALMER and DR. AMELIA KAPLAN BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2016 Acknowledgements This dissertation would not have been completed without the help of a number of people. I am indebted to many supporters and advisors for the completion of my dissertation. I would like to express my deepest gratitude to Dr. Robert Palmer, who continuously supported and advised me throughout my piano studies and dissertation. His mentoring, patience, and enthusiasm were crucial for me during my doctoral study. Without his guidance and encouragement, I could not have completed my degree. I am also very grateful to Dr. Amelia Kaplan, who guided me through the dissertation writing process and advised me concerning the analysis of the pieces. Thank you for your patience, and for encouraging me to complete this process when times were discouraging. I wish to thank the rest of my committee, Dr. James Helton, Dr. Kevin Gerrity, and Dr. Lisa Pellerin for agreeing to serve on my committee and giving of their time so willingly. I would like to express my sincere thanks to my editor for her time and assistance in the editing of this dissertation throughout many stages. I give my thanks to Mackenzie McErlane who assisted with the recording and editing process. They have been very supportive and cooperative throughout the long process of editing and recording. -
Piano Syllabus
Piano Syllabus Grade exams: Piano, Piano Accompanying Certificate exams: Piano Solo, Piano Duet, Piano Six Hands 2012–2014 Trinity College London 89 Albert Embankment London SE1 7TP UK T +44 (0)20 7820 6100 F +44 (0)20 7820 6161 E [email protected] www.trinitycollege.co.uk Charity number 1014792 Patron HRH The Duke of Kent KG Chief Executive Sarah Kemp Copyright © 2011 Trinity College London Published by Trinity College London Third impression, November 2012 Contents Introduction ................................................................................................................................... 3 Range of qualifications ......................................................................................................... 4 Grade exams — Piano, Piano Accompanying Structure ............................................................................................................................................. 5 Duration, Marking ............................................................................................................................ 6 Pieces ................................................................................................................................................... 7 Own Composition .............................................................................................................................8 Technical Work ................................................................................................................................ 9 Supporting Tests: -
Graded Pieces Sorted by Difficulty (PDF)
Grade Composer Composition Main Technical Difficulty or Benefit Other Notes & Comments 1 Agay Mysterious Procession Left Hand Melody This is for the total beginner, and can be taught on the very first lesson. RH play a Sight Reading steady even ostinato using only the note E, while the left hand plays the melody which Hand Independence consists only of ABC in different orders and simple rhythms. Excellent for sight- Expressive Playing reading, for hand independence, for expressive playing and for bringing up a melody on the left hand. It can also be used as a seed for free improvisation. 1 Alt Hot Noon in the Meadow Introduction to how chords develop emotSioimn ilar in difficulty to the above, this set of pieces uses modern harmonies to tell stories, so it is a very good introduction to how and why chords and intervals can elicit different emotions (for instance, “The spider” uses tritons to build up suspense, and “Bees and Flies” uses chromatic intervals to emulate buzzing). 1 Alt The Ocean Pattern Introduction A collection of 10 pieces for the complete beginner, most you can teach at the first lesson. The interesting thing here is that they use the whole keyboard and introduce patterns that frequently appear in the more advanced pieces, so they are excellent preparatory pieces. Again very good recital material for beginners. 1 Bach Chorale Lord, do with me as you will, BWV 514 1 Bach, J.C. Air in F, BWV Anh. 131, from 'The Anna Magdalena Bach Book of 1725' 1 Bach, J.C. Aria in A minor 1 Bartók Children at Play 1 Bartók Quasi Adagio no 3 from 'For Children' vol 1 1 Bartók Two Little Dialogues 1 Bartók Two Short Pieces and Two Little Dances 1 Beethoven Ecossaise in Eb major WoO 86 These are one-page very easy pieces (grade 1) that Beethoven most likely wrote as pedagogical material for is pupils. -
NEWS from the JEROME ROBBINS FOUNDATION VOL. 7, NO. 1 (2020) 75Th Anniversary Gala of New York Public Library for the Performing Arts’ Jerome Robbins Dance Division
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 7, NO. 1 (2020) 75th Anniversary Gala of New York Public Library for the Performing Arts’ Jerome Robbins Dance Division On Wednesday, December 4, 2019, The New York Public Library for the Performing Arts celebrated the Jerome Robbins Dance Division’s 75th anniversary with a unique gala that raised more than $723,000 in critical funds that will help the division document, collect, and preserve the history of dance and provide free services and programs for all. More than 200 dance-loving attendees moved through the Library for the Performing Arts in Lincoln Center viewing site-specific movement pieces cre- ated specifically for the occasion by Ephrat Asherie, The Bang Group, Jean Butler, Adrian Danchig-Waring, Heidi Latsky, Michelle Manzanales, Rajika Puri, and Pam Tanowitz. Staged in unexpected spaces (among the stacks, on reading room tables, through hallways, and on stairways), these brief performances fea- tured dancers including Chelsea Ainsworth, Chris Bloom, Jason Collins, Shelby Colona, Lindsey Jones, Jeffrey Kazin, Victor Lozano, Aishwarya Madhav, Georgina Pazcoguin, Nic Petry, Jaclyn Rea, Tommy Seibold, Amber Sloan, Gretchen Smith, Leslie Taub, Melissa Toogood, and Peter Trojic. The evening’s performances culminated in the Library’s Bruno Walter Auditorium with an excerpt from Jerome Robbins’ Other Dances, featuring American Ballet Theatre Principal Dancer Sarah Lane and New York City Ballet Principal Dancer Gonzalo Garcia. Jerome Robbins originally created the work in 1976 for a fundraiser to support the Library. The Jerome Robbins Dance Division’s 75th Anniversary Gala was chaired by Caroline Cronson & The Jerome Robbins Foundation. -
The East in the Works of Charles Griffes A
2020 ВЕСТНИК САНКТ-ПЕТЕРБУРГСКОГО УНИВЕРСИТЕТА Т. 10. Вып. 1 ИСКУССТВОВЕДЕНИЕ МУЗЫКА UDC 78.03 The East in the Works of Charles Griffes A. E. Krom Nizhny Novgorod State Academy of Music named after M. Glinka, 40, Piskunova str., Nizhny Novgorod, 603005, Russian Federation For citation: Krom, Anna. “The East in the Works of Charles Griffes”. Vestnik of Saint Petersburg University. Arts 10, no. 1 (2020): 3–16. https://doi.org/10.21638/spbu15.2020.101 The article is devoted to the oriental compositions of the American composer Charles Griffes (1884–1920), created in the 1910s. These include the symphonic poem “The Pleasure-Dome of Kubla Khan” (1912–1917), the vocal cycle “Five Poems of Ancient China and Japan” for voice and piano (1916–1917), and the Japanese pantomime “Sho-Jo” (1917). Significant creative con- tacts (Eva Gauthier, A. Coomaraswamy, E. Bloch, A. Bolm, M. Ito), extensive reading, fascination with folklore, poetry, painting, and philosophy of Asian countries led to the formation of his own method of working with oriental materials. The composer saw prospects for the interaction of Western and Eastern music in his address to the archaic, to the stylization of ancient folklore. An example is the music for the pantomime “Sho-Jo” and the cycle “Five Poems of Ancient Chi- na and Japan.” Natural modes (pentatonic modes), organ points, ascetic quarto-quinto-second verticals, spatial sound, and rhythmic ostinato allow us to draw parallels with new folkloristics, in particular, with the works of I. F. Stravinsky. In the symphonic poem “The Pleasure-Dome of Kubla Khan,” the European influences at the forefront are associated with the study of the “Russian” East (first of all the writings of N. -
L'enfant Et Les Sortilèges’ [Review], Le Ménestrel 87:14 (1925), P
The Language of Enchantment: Childhood and Fairytale in the Music of Maurice Ravel Emily Alison Kilpatrick Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide April 2008 Chapter Five The genie in the bottle: Creating a musical fairytale Il était une fois un Roi et une Reine qui étaient si fâchés de n'avoir point d'enfants, si fâchés qu'on ne saurait dire. Ils allèrent à toutes les eaux du monde, vœux, pèlerinages, menues dévotions; tout fut mis en œuvre, et rien n'y faisait…1 Charles Perrault 5.1 Introduction While the resonances and rhythms of the French language frequently shaped Ravel’s musical phrases and instrumental colours, he also made use of literary forms and idioms on a more fundamental and far-reaching level. In the ‘Pantoum’ of his Piano Trio (1914), for example, Ravel adopted the complex structure of Indonesian pantum poetry, while in his piano triptych Gaspard de la nuit (1908), subtly masked and manipulated sonata forms elucidate three extra-musical narratives.2 This chapter contends that the three major works in this study were also shaped by literary forms: Ma mère l’Oye, the Trois chansons and L’Enfant et les sortilèges deliberately engage with the structures and narrative conventions of the fairytale. Many of these structures and conventions have natural correspondences with musical idioms: patterns of action and reaction, strong narratives, clearly defined forms and a directness and simplicity of expression. In his ‘Autobiographical Sketch’ Ravel acknowledged the importance of this last facet of the fairytale relative to Ma mère l'Oye, a passage reiterated here because of its centrality to the argument: 1 ‘Once upon a time, there lived a king and queen, who were more grieved than words could tell, for they had no children. -
ABT at Cal Performances.Indd
Cal Performances Presents Wednesday, November , to Sunday, November , Zellerbach Hall American Ballet Th eatre Kevin McKenzie Rachel S. Moore Artistic Director Executive Director Principals Herman Cornejo · Marcelo Gomes · David Hallberg Paloma Herrera · Julie Kent · Gillian Murphy Xiomara Reyes · Ethan Stiefel · Michele Wiles Soloists Stella Abrera · Kristi Boone · Misty Copeland · Yuriko Kajiya Sarah Lane · Carlos Lopez · Jared Matthews · Veronika Part Sascha Radetsky · Maria Riccetto · Craig Salstein · Gennadi Saveliev Corps de Ballet Alexei Agoudine · Jennifer Alexander · Kelley Boyd · Isabella Boylston · Julio Bragado-Young Marian Butler · Maria Bystrova · Nicola Curry · Grant DeLong · Tobin Eason Kenneth Easter · Karin Ellis-Wentz · Zhong-Jing Fang · Jeff rey Golladay Nicole Graniero · Alexandre Hammoudi · Melanie Hamrick · Blaine Hoven · Carrie Jensen Vitali Krauchenka · Elizabeth Mertz · Simone Messmer · Anne Milewski · Matthew Murphy Patrick Ogle · Luciana Paris · Renata Pavam · Alejandro Piris-Niño · Jacquelyn Reyes Luis Ribagorda · Jessica Saund · Arron Scott · Caity Seither · Hee Seo · Sarah Smith Isaac Stappas · Cory Stearns · Sarawanee Tanatanit · Melissa Th omas · Leann Underwood Karen Uphoff · Jennifer Whalen · Roman Zhurbin Apprentices Gray Davis · Th omas Forster · Eric Tamm · Mary Mills Th omas Victor Barbee Wes Chapman Associate Artistic Director Artistic Director, ABT Studio Company Ormsby Wilkins Charles Barker David LaMarche Music Director Principal Conductor Conductor Ballet Masters Susan Jones · Irina Kolpakova · Clinton Luckett · Georgina Parkinson · Nancy Raff a with the Berkeley Symphony Orchestra 24 CAL PERFORMANCES Program Kristi Boone and Isaac Stappas in Baker’s Dozen. Photo by Lois Greenfi eld. Th e Board, Dancers and Staff of American Ballet Th eatre honor the enduring legacy of Peter T. Joseph (–). Countrywide Financial is the National Sponsor of American Ballet Th eatre. -
Playbill Collection (1955 – 2009)
Playbill Collection (1955 – 2009) Finding Aid Creator: Drew University Special Collections Title: Playbill Collection Dates: 1955-2009 Abstract: Collection of Playbill pamphlets from various shows in the New York and New Jersey area, including Broadway shows. Bulk of material is from the 1960s to 1980s. The Playbills have been collected from numerous donors and organized together by the staff of the Drew University Library as an artificial collection. Extent: 20 boxes, 10 linear feet Language: English Repository: Drew University Library, Madison, NJ Scope and Content Note The Playbill Collection contains copies of Playbills and other theater pamphlets from plays performed in/around the New York City area during the years 1955- 2009. Collected from donations by multiple individuals, the collection is arranged alphabetically by name of location of theatre or theatre company. Within each theatre/company, the materials are organized chronologically by year. Arrangement The material is arranged in two Series based on donation information. Administrative Information Acquisition The Playbill Collection is available for research. Restrictions One photocopy may be made of each document for the purpose of research. Permission to publish must be obtained from the Drew University Library. Researcher is responsible for further copyright restrictions. Preferred Citation [Identification of item; Date; Box #]. Playbill Collection. Drew University Special Collections, Madison, New Jersey Processor Theodore Hart, 2017 and Liesl Eppes, 2018-2019 Container List Series I. Playbills donated in 2013 Box 1 • 5 West o [No Date]: Oedipus Rex • 46th Street Theatre o 1972: No, No, Nanette o c.1975: Private Lives o 1987: Fences • Aldwych Theatre o c.1974: The Bewitched • Alvin Theatre o c.1975: Shenandoah o 1977: Annie • American Airlines Theatre o 2003: Tartuffe • American Shakespeare Festival Theatre o 1970: Othello, All’s Well That Ends Well, The Devil’s Disciple • Anta Theatre o 1959: J.B. -
The Cycle of French Piano Duets: Gabriel Fauré's Dolly Suite, Op. 56, Claude Debussy's Petite Suite, and Maurice Ravel's Ma Mère L'oye
THE CYCLE OF FRENCH PIANO DUETS GABRIEL FAURÉ’S DOLLY SUITE, OP.56, CLAUDE DEBUSSY’S PETITE SUITE, AND RAVEL’S MA MÈRE L’OYE A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for University Honors by Joanne Chew Ann Chang May, 2012 Thesis written by Joanne Chew Ann Chang Approved by ________________________________________________________________, Advisor __________________________________________________, Director, School of Music Accepted by _____________________________________________________, Dean, Honors College ii TABLE OF CONTENTS LIST OF EXAMPLES……………………………………………………………………iv ACKNOWLEDGEMENTS……………………………………………………………...vii CHAPTER I. INTRODUCTION………………………………………………………...1 II. GABRIEL FAURÉ………………………………………………………..6 DOLLY SUITE, OP.56…………………………………………………..11 III. IMPRESSIONISM……………………………………………………….23 IV. CLAUDE DEBUSSY……………………………………………………25 PETITE SUITE…………………………………………………………..32 V. MAURICE RAVEL……………………………………………………...42 MA MÉRE L’OYE………………………………………………………49 VI. CONCLUSION…………………………………………………………..61 BIBLIOGRAPHY………………………………………………………………………..63 iii LIST OF EXAMPLES CHAPTER II. 1. Example 1-1. Primo, Berceuse, mm. 1-6…………………………………….13 2. Example 1-2. Primo, Berceuse, mm. 35-39………………………………….13 3. Example 1-3. Secondo, Berceuse, mm. 2……………………………………14 4. Example 2-1. Primo, Mi-a-ou, mm. 21-27…………………………………...15 5. Example 2-2. Primo, Mi-a-ou, mm. 64-67…………………………………...16 6. Example 2-3. Secondo, Mi-a-ou, mm. 64-67………………………………...16 7. Example 2-4. Primo, Mi-a-ou, mm. 136-140………………………………...16 8. Example 3-1. Primo, Le Jardin de Dolly, mm. 7-8…………………………..17 9. Example 3-2. Sonata in A Major, Op.13, Allegro quasi presto, mm.1-11…..17 10. Example 3-3. Secondo, Le Jardin de Dolly, mm. 7-8………………………..18 11. Example 3-4. Primo, Le Jardin de Dolly, mm. 13-14………………………..18 12.