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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

A formal and stylistic analysis of selected compositions for solo accordion, with accompanying ensembles by twentieth-century American composers, with implications of their impact upon the place of accordion in the world of serious music A formal and stylistic analysis of selected compositions for solo accordion Title of abstract: An analysis of the impact of selected American works for solo accordion and ensemble upon serious music

Binder, Daniel A. 1981 (has links)
The accordion, a little known instrument in the world of serious or art music, does possess enormous capacities for artistic expression of the highest order.In the twentieth-century, some accordionists began to realize the instrument's potential. These accordionists made transcriptions of the classical repertoire, composed original works for the instrument, and formed the American Accordionists' Association to encourage, among other things, the advancement of the instrument by commissioning leading twentieth-century composers to write for the instrument.This study thus proposes to examine a select group of works for solo accordion and varying types of accompanying ensemble, by twentieth-century American composers. Each work has been critically analyzed and evaluated in an attempt to see what impact, if any, such works have had on the world of serious music in general.The study analyzes and evaluates ten works for accordion and accompanying ensemble including: Henry Cowell's, Concerto Brevis for Accordion and Orchestra; Paul Creston's, Concerto for Accordion and Orchestra; David Diamond's, Night Music for Accordion and String uartet, Ftoy Harris', Theme and Variations for Solo Accordion and Orchestra; Alan Hovhaness', Accordion Concerto, op. 174, and Rubaiyt, Op. 282 for narrator, accordion, and orchestra; William Schimmel's, Concerto for Three (accordion, bass viol, and percussion); Eugene Zador's, Concerto for Accordion, Strings, and Orchestra; and George Zorko'p, On-Gaurd for accordion and chamber. ensemble. There is a comparison of these works to others of a similar nature by the composer to see if he altered his style in any substantive way to accommodate the accordion.While it may be disappointing to discover that the efforts to date have not resulted in any masterpieces that transcend the medium, the accordion is only now approaching maturity in terms of technical and artistic achievement. There is considerable evidence of concern, interest, and creative energy being spent on the part of many on behalf of the accordion, which at least offers promise of significant results in the relatively near future.
2

An untold story : the accordion in twentieth-century China

Kwan, Yin Yee 2004 (has links)
Thesis (M.A.)--University of Hawaii at Manoa, 2004. Includes bibliographical references (leaves 146-162). xii, 162 leaves, bound ill., music 29 cm
3

Acadian Accordion Music in South Eastern New Brunswick

Cormier, Joel 2011 (has links)
Instrumental folk music has flourished in south eastern New Brunswick and the accordion, while a relative newcomer to the region, enjoys great popularity. Over the years, accordion players have filled many roles, from providing wedding music, to entertainment for house parties. However, there has been a lack of scholarly work done on the subject, especially when compared with folksongs, which have been the object of many studies. To date, little has been written on Acadian instrumental music in New Brunswick and there has been nothing written specifically on the accordion. The main focus of this work is a study, transcription, and analysis of accordion pieces collected from players in south eastern New Brunswick between 2007 and 2011. Some time is also spent on detailing the history of the accordion in the region, talking about the players themselves, as well as looking at the role of the instrument and its repertoire in a constantly changing world. The pieces in question were collected over a four year period in various venues, including accordion festivals and players’ places of residence; archival recordings were also consulted. The pieces were transcribed and afterwards analyzed and categorized. Multiple recordings of the same piece were checked for variations, which were found to be an important part of the style of the region. Historical data is often based on personal accounts, which were taken during interviews with players from the region. The accordion remains popular in the region and is adapting to changing circumstances. The annual accordion festivals occurring in Moncton every summer are providing new venues to keep the instrument relevant. This study will help to bring further attention to the instrument, stimulate new research, and perhaps even attract new younger players.
4

Acadian Accordion Music in South Eastern New Brunswick

Cormier, Joel 2011 (has links)
Instrumental folk music has flourished in south eastern New Brunswick and the accordion, while a relative newcomer to the region, enjoys great popularity. Over the years, accordion players have filled many roles, from providing wedding music, to entertainment for house parties. However, there has been a lack of scholarly work done on the subject, especially when compared with folksongs, which have been the object of many studies. To date, little has been written on Acadian instrumental music in New Brunswick and there has been nothing written specifically on the accordion. The main focus of this work is a study, transcription, and analysis of accordion pieces collected from players in south eastern New Brunswick between 2007 and 2011. Some time is also spent on detailing the history of the accordion in the region, talking about the players themselves, as well as looking at the role of the instrument and its repertoire in a constantly changing world. The pieces in question were collected over a four year period in various venues, including accordion festivals and players’ places of residence; archival recordings were also consulted. The pieces were transcribed and afterwards analyzed and categorized. Multiple recordings of the same piece were checked for variations, which were found to be an important part of the style of the region. Historical data is often based on personal accounts, which were taken during interviews with players from the region. The accordion remains popular in the region and is adapting to changing circumstances. The annual accordion festivals occurring in Moncton every summer are providing new venues to keep the instrument relevant. This study will help to bring further attention to the instrument, stimulate new research, and perhaps even attract new younger players.
5

Jindřich Feld : Analysis of Concert Piece For Accordion

Řehák, Milan 2017 (has links)
This thesis intends to illustrate the music language presented in Jindřich Feld’s compositions for accordion. Jindřich Feld (1925-2007) was a very important Czech composer of the second half of the 20th century. As the best example of this music language, I have chosen his “Concert Piece For Accordion” which is certainly one of the most respected accordion compositions ever written. I have always appreciated the music of Jindřich Feld, which is the reason why I decided to write about him and his composition. In this thesis, I focused mainly on an insight into the form and style of “Concert Piece”. Most of my comments and analyses come from my personal experience and from my perspective as an interpreter. This composition, most likely, has not been performed in Sweden before, or it is not well-know at least. I hope that my thesis will help other accordionists and musicians to understand Feld’s music, and contribute to better and more frequent performances of his accordion music.
6

Wanderings

Christian, Bryan W., Christian, Bryan W., Christian, Bryan W., Christian, Bryan W. 2010 (has links)
Thesis (M. A.)--University of California, San Diego, 2010. Title from first page of PDF file (viewed July 14, 2010). Available via ProQuest Digital Dissertations. Sound files consist of recordings of North and Yet somehow comes emptiness in single-channel and stereo. configurations.
7

Comrades

Hayman, Jeffrey P. 2013 (has links)
Comrades was inspired by Milan Kundera’s first novel, The Joke. The music initially set out to depict four characters from The Joke and their distinct personalities, with each movement individually depicting a specific character. As the piece was being composed, it gradually began to distance itself form the novel, and in its final state, exists independently of any association with the novel, instead depicting four unspecified characters from an unwritten story who relate in non-programmatic ways. Regardless of its removed association with Milan Kundera’s novel, the orchestration of Comrades was chosen based on a Moravian folk music ensemble in which the characters within the novel performed. In an effort to remain loyal to its conception, the piece attempts to use European folk influence to generate much of its musical material. text
8

Harmonika u narodnoj i školskoj praksi: fenomenologija i pedagoški aspekti The Accordion in Traditional and School Practice: Phenomenology and Educational Aspects

Ivkov Vesna 16 September 2016 (has links) (PDF)

Ova istraživanja posvećena načinima učenja harmonike svoju opravdanost nalaze u naučnoj sferi, praktičnoj potrebi i ličnom interesovanju istraživača. Naučna opravdanost proističe ne samo iz činjenice da harmonika nije bila dovoljno zastupljena u etnomuzikološkim i pedagoškim istraživanjima, nego je u ovom slučaju bitan aspekt posmatranja harmonike kao fenomena i načina učenja sviranja ovog instrumenta.
Cilj ovog istraživanja je utvrditi pedagoško-muzičke karakteristike dva osnovna najčešće zastuplja modela praktično primenjivih u učenju sviranja harmonike: slobodni-neinstitucionalni, ili izvanškolski model i institucionalni, ili školski. Opšta hipoteza: Pretpostavlja se da nema statistički bitnih razlika u organizacionim, metodičkim i drugim aspektima učenja sviranja harmonike između vanškolskog i školskog modela učenja. U skladu sa opštom, formirane su posebne hipoteze: 

h1: Pretpostavlja se da nema statistički značajnih razlika u pogledu osnovnog cilja podučavanja između vanškolskog i školskog učenja sviranja harmonike.

h2: Pretpostavlja se da nema statistički značajnih razlika u pogledu vremenskog trajanja časa i socijalnog oblika nastave u školskom i vanškolskom učenju sviranja harmonike.

h3: Pretpostavlja se da nema statistički značajnih razlika u pogledu odabira vrste učenja (iz nota, na sluh) u vanškolskom i školskom učenju sviranja harmonike.

h4: Pretpostavlja se da nema statistički značajnih razlika u pogledu primene pojedinih nastavnih, tehničkih i drugih sredstava, koja se koriste u podučavanju u vanškolskom i školskom učenju sviranja harmonike.

h5: Pretpostavlja se da nema statistički značajnih razlika u pogledu faktora koji utiču na organizaciju časa u vanškolskom i školskom učenju sviranja harmonike.

h6: Pretpostavlja se da nema statistički značajnih razlika u pogledu primene pojedinih postupaka motivacije učenika na času u vanškolskom i školskom učenju harmonike.

h7: Pretpostavlja se da nema statistički značajnih razlika u postignućima, u pogledu odabira vrste instrumenta i vrste muzike na početku učenja sviranja u vanškolskim i školskim uslovima.

h8: Pretpostavlja se da nema statistički značajnih razlika u pogledu značaja pojedinih faktora koji utiču na uspeh ili postignuće učenika u sviranju harmonike u vanškolskom i školskom učenju.

h9: Pretpostavlja se da nema statistički značajnih razlika u pogledu prednosti i nedostataka učenja harmonike u vanškolskim i školskim uslovima.

h10: Pretpostavlja se da nema statistički značajnih razlika u vrednovanju statusa instrumenta, društvenog položaja izvođača i učitelja u vanškolskom i školskom učenju sviranja harmonike.
U gradskim i seoskim sredinama na području Srbije sprovedena su terenska istraživanja u periodu od 2014-2016. godine. Tehnikom intervjua, specijalno pripremljenog za potrebe ovih istraživanja, dobijeni su podaci o međusobnom odnosu učitelja harmonike, učenika i roditelja, o časovima harmonike, načinu rada i efektima učenja sviranja harmonike. Uzorak je činilo 30 ispitanika, od kojih se jedan deo ispitanika bavi podučavanjem učenika u sferi narodne muzike neinstitucionalno (privatno) i izvođaštvom, a drugi deo ispitanika čine nastavnici i profesori harmonike koji se podučavanjem bave institucionalno, na različitim nivoima muzičkog školovanja.

Za potrebe prikupljanja podataka upotrebljena je i tehnika skaliranja i njoj pripadajući instrument skala procene. Uzorak je takođe mali, činilo ga je 30 ispitanika, od kojih se jedan deo bavi podučavanjem sviranja harmonike u školi, a drugi deo ispitanika se bavi podučavanjem van škole. Ispitanici su birani na osnovu sledećih kriterijuma: da su muzičko školovanje ili radno iskustvo kao nastavnici i profesori harmonike stekli u Muzičkoj školi „Isidor Bajić― u Novom Sadu, odnosno da kao učitelji / nastavnici harmonike žive i deluju u Novom Sadu.
U vanškolskom i školskom učenju sviranja harmonike cilj podučavanja je isti. U pogledu pojedinih socijalnih oblika rada primećuje se da su rad u grupi učenika i kombinovanje više oblika rada zastupljeni u školskom okruženju. Ispitanici koji podučavaju u školskom okruženju smatraju da je bitnije da se učenici tokom učenja oslanjanju na note, nego da uče po sluhu. Učenju po sluhu veću prednost daju ispitanici koji podučavaju van škole. Svi spitanici procenjuju da isti faktori imaju podjednak uticaj na organizaciju časa u vanškolskom i školskom učenu sviranja harmonike. Sredstva motivacije učenika, kao što su korektno ocenjivanje postignuća učenika, javni nastupi učenika i primereno korišćenje kazne zastupljenija su u školskom tipu učenja. Svi ispitanici su se složili u mišljenju da je za učenika prednost paralelno učenje narodne i klasične muzike, da je za učenika najbolje da prva znanja dobije u školi. U vanškolskom okruženju se kao prednosti ističu učenje vrste muzike po želji i odabir učitelja koji će podučavati, a u školskom učenju se kao prednosti izdvajaju kompetencija nastavnika, obaveza vođenja dnevnika rada, sticanje svedočanstva o pohađanju škole, dostupnost štampanih muzikalija / udžbenika, učenje predmeta (muzička teorija, solfeđo) / disciplina, koje pomažu ukupni muzički razvoj pojedinca, nadzor podučavanja od strane stručnih organa, nabavka harmonike sa bariton sistemom, kao i prisutnost udžbenika za metodiku nastave harmonike. Ispitanici koji podučavaju van škole procenjuju da instrument harmonika zauzima viši status u društvu, a time i finansiranje izvođačke delatnosti i medijska promocija izvođača, za razliku od mišljenja koje zastupaju ispitanici koji podučavaju u školi.
Za ovu doktorsku disertaciju je značajno to što se na interdisciplinaran način, sa aspekta etnomuzikologije i muzičke pedagogije, objedinjuje problematika učenja sviranja harmonike. Rezultati i podaci dobijeni ovim istraživanjem, između ostalog, donose nova saznanja u oblasti metodike nastave harmonike. Oni mogu biti značajan dokument u strategiji dinamičnijeg i, na teritoriji Srbije, ravnomernog uvođenja harmonike na sve nivoe školovanja, imajući pritom u vidu zastupljenost ovog instrumenta u više muzičkih žanrova.

The present study, which is focusing on the ways accordion is learned, is justified by its scientific contribution, practical need and the personal interest of the researcher. The scientific justification stems not only from the fact that there is an insufficient body of research on the accordion in the field of ethnomusicology, but, more importantly, this study focuses on the aspect of the accordion as a phenomenon and the way the playing on this instrument is learned. The present study is aimed at determining pedagogical-musical features of the two predominant models that are practiced in learning the accordion playing: free- non-institutional or outside-of-school model and institutional or school model. The general hypothesis: It is assumed that there are no statistically significant differences in organisational, methodological and other aspects of learning the accordion playing between the outside-of-school and school models of learning. Stemming from the general hypothesis, the following specific hypothesis have been formulated:

h1: It is assumed that there are no statistically significant differences in the primary teaching objectives between the outside-of-school and the school learning of the accordion playing.
h2: It is assumed that there are no statistically significant differences in the lesson duration and the social form of teaching between the outside-of-school and school learning of the accordion playing.
h3: It is assumed that there are no statistically significant differences in terms of choice of learning types (from musical scores, by ear) between the outside-of-school and school learning of the accordion playing.
h4: It is assumed that there are no statistically significant differences in terms of educational, technical and other resources used in teaching in the outside-of-school and school learning of the accordion playing.
h5: It is assumed that there are no statistically significant differences in terms of the factors that affect the organisation of lesson in the outside-of-school and school learning of the accordion playing.
h6: It is assumed that there are no statistically significant differences in terms of the use of student motivation procedures between the out-of-school and school learning the accordion.
h7: It is assumed that there are no statistically significant differences in the achievements, as well as the selection of the instrument and music types at the beginning of learning in the outside-of-school and school conditions.
h8: It is assumed that there are no statistically significant differences in the importance of certain factors that affect the student success and/or achievement in playing the accordion in the outside-of-school and school learning.
h9: It is assumed that there are no statistically significant differences in terms of the advantages and disadvantages of the accordion learning in the outside-of-school and school conditions.
h10: It is assumed that there are no statistically significant differences in the evaluation of the status of the instrument, social status of artists and teachers in the out-of-school and learning of the accordion playing.

A field research was carried out in urban and rural communities in the territory of Serbia in the period 2014 – 2016. A technique of interview, which was designed for the needs of the present study, was used to obtain the data on the interpersonal relationship of the accordion teachers, students and their parents, on accordion lessons, method of work and learning of the accordion playing outcomes. The sample comprised 30 interviewees. One segment of the sample consisted of musicians who are engaged in teaching traditional music to students outside of school (private tutors) and performing music, while the other group consisted of accordion teachers and professors engaged in institutional teaching on different levels of music education.
For the purposes of data collection, the technique of scaling with an appropriate evaluation scale was used. The sample was small, consisting of 30 respondents, some of whom teach the accordion at school while others teach it outside of school. The respondents were selected on the basis of the following criteria: that they have received their music education or gained their work experience as accordion teachers and professors at Music School „Isidor Bajic‖ in Novi Sad, and/or that as the accordion teachers/professors they live and work in Novi Sad.

The teaching aims in the out-of-school and school accordion playing are the same. In regard to certain social forms of work it is noticeable that group work and combination of several forms of work are present in the school environment. The respondents who teach at school put emphasis on the importance of students‘ relying on musical scores in comparison to playing by ear during the learning process. Learning to play by ear is given preference by the respondents who teach outside of school. The methods of motivating students, such as fair evaluation of their achievement, students‘ public performances and an appropriate use of punishment, are preferred in the school type of teaching. All the respondents agree that it is beneficial for students to learn traditional and classical music in parallel have an advantage.

What is emphasised as an advantage of the out-of-school environment is learning the desired music with a chosen teacher, while in the school learning among the identified advantages are teachers‘ competences, the mandatory records of lessons, obtaining a certificate of school attendance, availability of printed musical scores/textbooks, learning different subjects (music theory, solfeggio) /disciplines which facilitate the overall music development of students, supervision of teaching by professional bodies, obtaining an accordion with a baritone system, as well as the existence of textbooks for the accordion teaching methodology. The respondents who teach outside of school consider that the accordion as an instrument has a higher social status, thus contributing to the financing of performances and media promotion of performers, on the contrary to the predominant opinion of the respondents who teach at school.

The significance of this doctoral thesis lies in the fact that the learning of the accordion playing is observed from the point of view of ethnomusicology and music pedagogy in an interdisciplinary way providing a complete overview of the subject. The results and data obtained from this research, among other things, bring new insights into the accordion teaching methodology. These insights can serve as a significant document in the strategy of a more dynamic and, in the territory of Serbia, more even introduction of the accordion on all educational levels, bearing in mind the fact that this instrument is present in several music genres.


 

The present study, which is focusing on the ways accordion is learned, is justified by its scientific contribution, practical need and the personal interest of the researcher. The scientific justification stems not only from the fact that there is an insufficient body of research on the accordion in the field of ethnomusicology, but, more importantly, this study focuses on the aspect of the accordion as a phenomenon and the way the playing on this instrument is learned. The present study is aimed at determining pedagogical-musical features of the two predominant models that are practiced in learning the accordion playing: free- non-institutional or outside-of-school model and institutional or school model. The general hypothesis: It is assumed that there are no statistically significant differences in organisational, methodological and other aspects of learning the accordion playing between the outside-of-school and school models of learning. Stemming from the general hypothesis, the following specific hypothesis have been formulated:

h1: It is assumed that there are no statistically significant differences in the primary teaching objectives between the outside-of-school and the school learning of the accordion playing.
h2: It is assumed that there are no statistically significant differences in the lesson duration and the social form of teaching between the outside-of-school and school learning of the accordion playing.
h3: It is assumed that there are no statistically significant differences in terms of choice of learning types (from musical scores, by ear) between the outside-of-school and school learning of the accordion playing.
h4: It is assumed that there are no statistically significant differences in terms of educational, technical and other resources used in teaching in the outside-of-school and school learning of the accordion playing.
h5: It is assumed that there are no statistically significant differences in terms of the factors that affect the organisation of lesson in the outside-of-school and school learning of the accordion playing.
h6: It is assumed that there are no statistically significant differences in terms of the use of student motivation procedures between the out-of-school and school learning the accordion.
h7: It is assumed that there are no statistically significant differences in the achievements, as well as the selection of the instrument and music types at the beginning of learning in the outside-of-school and school conditions.
h8: It is assumed that there are no statistically significant differences in the importance of certain factors that affect the student success and/or achievement in playing the accordion in the outside-of-school and school learning.
h9: It is assumed that there are no statistically significant differences in terms of the advantages and disadvantages of the accordion learning in the outside-of-school and school conditions.
h10: It is assumed that there are no statistically significant differences in the evaluation of the status of the instrument, social status of artists and teachers in the out-of-school and learning of the accordion playing.

A field research was carried out in urban and rural communities in the territory of Serbia in the period 2014 – 2016. A technique of interview, which was designed for the needs of the present study, was used to obtain the data on the interpersonal relationship of the accordion teachers, students and their parents, on accordion lessons, method of work and learning of the accordion playing outcomes. The sample comprised 30 interviewees. One segment of the sample consisted of musicians who are engaged in teaching traditional music to students outside of school (private tutors) and performing music, while the other group consisted of accordion teachers and professors engaged in institutional teaching on different levels of music education.
For the purposes of data collection, the technique of scaling with an appropriate evaluation scale was used. The sample was small, consisting of 30 respondents, some of whom teach the accordion at school while others teach it outside of school. The respondents were selected on the basis of the following criteria: that they have received their music education or gained their work experience as accordion teachers and professors at Music School „Isidor Bajic‖ in Novi Sad, and/or that as the accordion teachers/professors they live and work in Novi Sad.

The teaching aims in the out-of-school and school accordion playing are the same. In regard to certain social forms of work it is noticeable that group work and combination of several forms of work are present in the school environment. The respondents who teach at school put emphasis on the importance of students‘ relying on musical scores in comparison to playing by ear during the learning process. Learning to play by ear is given preference by the respondents who teach outside of school. The methods of motivating students, such as fair evaluation of their achievement, students‘ public performances and an appropriate use of punishment, are preferred in the school type of teaching. All the respondents agree that it is beneficial for students to learn traditional and classical music in parallel have an advantage.

What is emphasised as an advantage of the out-of-school environment is learning the desired music with a chosen teacher, while in the school learning among the identified advantages are teachers‘ competences, the mandatory records of lessons, obtaining a certificate of school attendance, availability of printed musical scores/textbooks, learning different subjects (music theory, solfeggio) /disciplines which facilitate the overall music development of students, supervision of teaching by professional bodies, obtaining an accordion with a baritone system, as well as the existence of textbooks for the accordion teaching methodology. The respondents who teach outside of school consider that the accordion as an instrument has a higher social status, thus contributing to the financing of performances and media promotion of performers, on the contrary to the predominant opinion of the respondents who teach at school.

The significance of this doctoral thesis lies in the fact that the learning of the accordion playing is observed from the point of view of ethnomusicology and music pedagogy in an interdisciplinary way providing a complete overview of the subject. The results and data obtained from this research, among other things, bring new insights into the accordion teaching methodology. These insights can serve as a significant document in the strategy of a more dynamic and, in the territory of Serbia, more even introduction of the accordion on all educational levels, bearing in mind the fact that this instrument is present in several music genres.

9

Resistance in compositional practice three mediatory works

Tacke, Daniel Arthur. Tacke, Daniel Arthur. Tacke, Daniel Arthur. Tacke, Daniel Arthur. 2008 (has links)
Thesis (M.A.)--University of California, San Diego, 2008. Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.
10

Displaced Spaces, Shocks, Negations: A Musical and Gestural Analysis of Stefan Wolpe's Studies for Piano, Part I (1946-48) and its Implications for Performance

Henning, Ina 2013 (has links)
The core project of this dissertation is a musical and gestural analysis of Studies, Part I: Displaced Spaces, Shocks, Negations, A New Sort of Relationship in Space, Pattern, Tempo, Diversity of Actions, Interactions and Intensities (1946-48) by post-tonal composer Stefan Wolpe (1902-72). The analytical methods consist of Set Class analysis (Allen Forte), the Effort Shape analysis of gesture (Rudolf von Laban), and the Time and Tone analysis of accordion performance (Joseph Macerollo). Wolpe played a leading role in the emergence of abstract expressionism among the painters, poets, dancers and composers of New York in the mid to late 1940s.Wolpe’s oeuvre reveals a unique way of composing in the post-tonal era. Chapter 1 provides the historical and stylistic contextualization of this particular study Displaced Spaces. Chapter 2 is concerned with the musical analysis, presented as pitch class and shape analysis. By nature, Wolpe’s pieces are best described as very physical, which explains the rationalization for the application of the gestural analysis in chapter 3. The Effort Shape graphic notation method by Rudolf von Laban (1879-1958) widely used in dance is applied to the musical gestures in Wolpe’s score. Wolpe’s overall title for the series of studies, Music for Any Instrument (1944-49), leaves the choice of instrument to the performer; as these studies require a polyphonic instrument, the classical accordion seems an appropriate choice. Laban’s principles as applied to Wolpe are compared to Macerollo’s Time and Tone analysis to implement gesture on one specific instrument. Battle Piece, a composition for piano solo which he began in 1943 is central to a change in Wolpe’s development: After finishing the first three movements of the piece, Wolpe explored new ideas in the study Displaced Spaces. The degree of coherence between the later parts of Battle Piece and Displaced Spaces is presented in chapter 4 focussing on new techniques that Wolpe was able to formulate through this “detour”. Chapter 5 as a conclusion brings together results from the set theory and the gestural analysis of this particular work in order to bridge the gap between the disciplines of music theory, performance and dance.

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