The etudes of Chopin are masterworks of the piano literature and are designed to go beyond mere technical exercises; moreover, each etude represents not only a technical study but also has a distinct musical character. Alarmingly, the current trend seems to be to assign the Chopin etudes at an increasingly young age to students who are not yet equipped either technically or musically to handle them. As Chopin’s pupil, Carl Mikuli, commented in the preface to his Chopin edition, the etudes were meant for “more advanced students.” If Chopin had intended his etudes for students at an intermediate level, he would have assigned them to most of his students; however, only a limited number of students had his permission to work on their master’s etudes. As a teacher, I have always felt the need to devise a systematic teaching plan to guide students to handle the challenges of these pieces both physically and musically. This study examines the repertoire which might help prepare a student to learn the etudes without overstraining his/her muscular and mental ability. Rooted in Chopin’s teaching and his recommendation of the pieces to learn before tackling the etudes themselves, this pedagogical study guide intends to help students and teachers to work progressively towards the study of these works. While pinpointing some exercises and simple pieces to assign to a student in preparation for studying the individual etudes, helpful works of later composers are also liberally incorporated, as well as some suggestions for practicing the etudes themselves. Finally, I shall provide my own “re-ordering” of the etudes, with a progressive degree of difficulty, as an additional aid to a young pianist who may eventually want to learn the entire opus 10 and opus 25.

No description available.

by Fung Wai Man Eric. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 114-119). / Chapter 1 --- INTRODUCTION --- p.1 / Chapter 2 --- SCHENKER'S VIEWS ON PERFORMANCE --- p.9 / Chapter 3 --- SCHENKERIAN ANALYSIS APPLIED TO PERFORMANCE --- p.32 / Chapter 4 --- THE FIRST MOVEMENT OF CHOPIN'S B MINOR SONATA --- p.70 / CONCLUSION --- p.109 / BIBLIOGRAPHY --- p.114 / APPENDIXES --- p.120

During the Nineteenth century, with the population of the public concert, many performers have started devoting themselves to the development of technique, expecting that could appeal to more audience. Under the influence of Paganini, virtuoso not only gets to the top, but also let the pianists devote themselves to develop technique on the keyboard, expecting that they can win brilliant results in the concert. Under such situation, studies have been published in a great amount. Gradually, composers and pianists try not to only make the music with virtuositic spirit but also with lyricalism within them. In addition to the introductions and conclusions, the research could be divided into three chapters. The first chapter, discussion of the musical background, includes the music environment during the nineteenth century, the mechanism improvement of the pianos, and the development of the concert etude. Chapter two is the analyses of the concert etude technique and characters. Famous composers, such as Chopin, Schumann and Liszt, their concert etudes will be discussed. Chapter three investigates the concert etudes of the other composers in terms of their nationalities-Germany, France, Russian, American, and Poland. Concert etudes that developed in the nineteenth century would be no longer the simple etudes for finger exercise, but the masterpieces with the inner intension. To pianists in late twenty century, these concert etudes should be not only methods for teaching but also essential in concert programs.

Self and Motherhood in Kate Chopin

Fantasie was firstly comprised of free improvisatory type and multi-section structure. In the 19th century, the formal structure of sonata and character pieces were combined into the Fantasie. In the process of its evolution, the introduction, slow mid-section, and improvisatory elements which Fantasie includes always play important roles. However, Fantasie varied with different characteristics of individual composers. This paper focuses on three works titled ¡§Fantasy¡¨ from Chopin. It includes five chapters: the first chapter is the introduction. The second chapter is about the historical development of Fantasie in keyboard works. In the third chapter to the fifth chapter Chopin¡¦s Fantaisie-Impromptu Op. 66, Fantasie Op. 49, and Polonaise-Fantaisie Op. 61, and fantastic features of Chopin will be discussed in details.

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Also available from UMI.

No description available.

Thesis (M.A.)--Eastern Illinois University, 2008. / Includes bibliographical references (leaves 55-60).

Thesis (Doctor of Musical Arts)--University of Wisconsin--Madison, 1982. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 71-73).