This dissertation is about a peculiar conflict that occurs in the process of music performance, a conflict that exists between the body and the mind. What I call “executive mismatch,” this conflict tends to occur when music performance is treated only as an art, and not also as a kind of a sport; that is, when music is valued only for its artistic expression and representation, and not also for its kinetic essence. Executive mismatch happened, for example, during the second quarter of the nineteenth century, a critical time that shaped our modern views on how the piano should be played. While many – among them Liszt, Thalberg, Chopin, and Mendelssohn – managed to find their rightful places in this process of development, individuals like Schumann struggled for theirs. Focusing on this influential but overlooked nineteenth-century dilemma, this dissertation examines the inharmonious collaboration between kinetics and aesthetics as evident in pedagogical writings, training materials, witness accounts, and compositions. This dissertation argues that musical performance mandates a proper matching of the body and the mind, and it does so at two levels. First, it argues historically that Schumann’s famous hand injury was as much about the executively mismatched world he lived in as about biographical details. His pursuit of a performing career was always doomed to end badly, whether or not he tried to use machines to accelerate progress. Accordingly, his injury was unlikely to be self-inflicted, nor was it entirely medical/pathological by nature. Second, it argues that executive mismatch, which found perfect expressions in Schumann’s life and in early nineteenth- century pianism, still influences our modern world through performers, music-score editors, and researchers. / published_or_final_version / Music / Doctoral / Doctor of Philosophy

This project explores Samuel Barber’s complete works for solo piano, including his early works published in 2010. The recording, captured on two CDs, represents the first complete collection of Barber’s published piano works and outlines Barber’s maturation from his teenage years to his full development as a world-renowned composer. The document includes a biographical sketch, an overview of his published solo piano works, and a performer’s guide. The performer’s guide examines technical and musical difficulties commonly found throughout his piano output, focusing on three aspects of Barber’s compositional appeal: lyricism, virtuosity, and eclecticism. The goal of this discussion is to aid the student in her exploration of Samuel Barber’s piano music. / School of Music

Compact discs presented in separate bound volume. / Includes reproduction of the author's edition of the piano works of Margaret Sutherland (Allans Publishing ; c2000) / Includes selective list of public performances by the author (leaves 8-14), and comprehensive list of performances of works by Australian composers (leaves [66]-76). / Bibliography: leaf [65] / 173 leaves : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / The principal focus of this submission is performance, represented by a set of four compact discs containing recordings of a wide range of solo and ensemble repertoire. There is, in addition, a secondary focus in the area of Musicology, represented most obviously in the published edition of the piano music of Margaret Sutherland, and in some of the accompanying commentary. The primary elements of the portfolio are the recordings and the edition. / Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2004?

Throughout Leopold Godowsky's teaching career he emphasized to students that the technic of piano playing is not synonymous with the mechanics of piano playing.' Mechanics encompass specific problems such as 1) octaves, 2) pedalling, 3) articulation, 4) velocity, and 5) weight and relaxation. Technic involves not only the practical execution, but basic understanding in the application of such problemmatical areas.This study will deal with the mastery and understanding of five specific areas that form a basis for one's individual technical approach to performance. It is important pedagogically to confine oneself to a single problem while discussing such areas in order that each item be thoroughly understood.2 For example, the first chapter involves preparation needed to encounter confidently octave passages found in the actual piano repertory. The second chapter deals with application of the damper pedal in selected piano excerpts, while the chapter on articulation is limited to the ambiguities of printed staccato markings. The final two chapters encompass progressive steps toward controlled velocity in passage work and a study of two terms, weight and relaxation.The author hopes that with use of this manual these items can be handled with less difficulty and put into proper perspective. Careful thought has been given by the writer in selecting representative exercises and piano literature excerpts as illustrations for the reader and/or performer. These examples cannot only be studied, but used as preparation for any other related work. The purpose of this study is to supply teachers, students, and performers with a ready-reference guide dealing with five common, yet confusing areas in piano performance, pedagogy, and study.1Ruth Slenczynska, Music At Your Fingertips (New York: Simon and Schuster, Inc., 1968), p. 35.2Karl Leimer, Rhythmics, Dynamics, Pedal, and Other Problems of Piano Playing (New York: Dover, Inc., 1972), p. 83.

On an overgrown path Book 1 / Leos Janacek / text

AFRIKAANS: Gebore en getoeë in 'n omgewing waar die besondere uitdagings grondliggend aan die musikale kunsvorm van begeleiding nie erken is nie, maar eerder as 'n vanselfsprekendheid by pianiste gereken is, het 'n toenemende behoefte aan toepaslike leiding en opleiding die teelaarde vir die tersaaklike studie gevorm. Aansluitend hierby is mettertyd bevind dat die klimaat in Suid-Afrika in die reël van sodanige aard was dat begeleiding as onafhanklike en selfstandige beroepskeuse selde waardig genoeg geag is om beroepsgerigte onderwys en gespesialiseerde opleiding in die veld te regverdig. Daarom is die aanvangsondersoek van hierdie studie primêr geloods as 'n kritiese beskouiing van die funksionaliteit van die teenwoordige opset van begeleieropleiding in Suid Afrika. Meer spesifiek behels die genoemde aanvangsondersoek 'n indringende ondersoek na die toelatingsvereistes vir ensemble-gerigte kursusse, soos vervat in die sillabusse van 'n geselekteerde aantal sekondêre en tersiêre instansies landwyd. Voorts is die vak-inhoudelike sowel as moontlike blootstellingsgeleenthede aan ensemble-aktiwiteite onder die loep geneem. Die resultate in hierdie verband was teleurstellend en is die fokus verskuif na die samestelling van 'n vraelys as inligting-insamelingsinstrument. Die oogmerk van genoemde vraelys was hoofsaaklik die inwinning van persoonlike opleidingservaringe van die betrokke proefpersone sowel as 'n toekomsvisie rakende die opleiding van begeleiers-van-môre. Hoewel die opname-respons laag was, het waardevolle inligting die groeiende dringende behoefte aan sinvolle rigtinggewing in die toepaslike veld onderstreep. Die soekende openbare krag van die tweesnydende swaard is vervolgens immer dieper in die wese van die begeleier ingedring. 'n Geriefsteekproef erkende begeleiers is vir onderhoude genader. In die proses is gepoog om enersyds waarlik op hoogte te kom van hul siening met betrekking tot die samestelling van en vereistes vir 'n voornemende beroepsbegeleier tot op hede. Andersyds is gefokus op die persoonlike voorkeure rondom 'n beroepskeuse in die begeleidingsveld en 'n eiesoortige inkyk in hul beroepsbelewenis te kry. Weer eens is groot klem geplaas op hul siening van die opleiding van toekomstige begeleiers. Verblydende terugvoer is deurgaans ontvang. Die opregte ywer en toegewyde entoesiastiese betrokkenheid van die spesialiste in die tersaaklike veld verdien besondere vermelding. So ook hul besef van die reuse taak tot verantwoordelike vorming van gewillige studente in die rypingsproses tot musikaal-sinvolle uitvoerders wie se interpretasie en toepassing van stylbegrip die musiseringsvlak in samespel situasies aanmerklik kan verryk en verfraai. Ten slotte is al die voorafgaande inligting oor die funksionele opleiding van begeleiers tot op hede afgewissel met 'n verfrissende blik op die moontlike prag van ‘n ideaIe werklikheidsituasie. Voortvloeiend hieruit is die Iigpunte in die Suid-Afrikaanse bestel saamgetrek om aanvullend daartoe bepaalde aanpassings voor te stel en vars idees daaraan toe te voeg. Kortliks behels die genoemde voorstellle 'n ontvanklike en eerlike kyk na die verlede, om daaruit te kan leer; 'n kritiese beoordeling van die hede, om daaruit te kan groei, en 'n uitsig op die komende tyd, om daarin die oopblom van geleenthede, die vorming deur ervaringe en die heerlike geur van ware toonkunstenaarskap te mag ontmoet. ENGLISH: In an environment where the particular challenges inherent to the musical art form of accompaniment have never been acknowledged, but rather naturally attributed to pianists, a growing need of well-directed guidance and training has given rise to the study concerned. In the course of the study it gradually came to light that the general climate in South Africa has seldom allowed accompaniment to be viewed as an independent and autonomous career choice worthy of career-orientated, specialized training. Accordingly, this study was initially launched as a critical evaluation of the functionality of the present situation involving the training of accompanists in South Africa. More specifically, the initial investigation concerned an incisive analysis of the entrance requirements pertaining to ensemble-directed courses, as contained in the sillabi of selected secondary and tertiary institutions from all over South Africa. Furthermore, the subject content as well as potential opportunities of exposure to ensemble activities was scrutinized. Since the results revealed a disappointing situation, a questionnaire was compiled in order to gather information. This questionnaire was mainly meant to capture the respondents' personal experiences regarding training, as well as their views on the future training of accompanists. Although the response was low, valuable information came to the fore, emphasizing the growing and urgent need of meaningful direction in the field concerned. The searching blade of the double-edged sword was now driven into the very being of the accompanist. A convenience sample of acknowledged accompanists was interviewed. On the one hand a serious attempt was made to gauge their current views regarding the composition and required characteristics of an accompanist-to-be. On the other hand, the focus fell on their personal preferences regarding a career choice in the field of accompaniment and on the particular way they experienced their careers. Once again, special attention was paid to their vision of the training of future (career-oriented) accompanists. On the whole, the feedback was gladdening. The sincere devotion and enthusiastic involvement of these specialists in the field must be specially mentioned. The same applies to their awareness of the mammoth responsibility resting on their shoulders, namely that of helping willing students mature until they are able to execute works of music in a meaningful way, interpreting and applying their understanding of style in a manner which enhances their musical interaction with others. Finally, the preceding information concerning the current state of the functional training of accompanists is enlivened by an invigorating vision of an ideal situation. The rays of light within the South African context are drawn together in order to facilitate the suggestion of certain adjustments and fresh ideas. In short, these suggestions involve an open-minded and honest view of the past, in order to learn from it; a critical evaluation of the present, in order to facilitate new growth; and a vision of the future, in order to recognize the flowering possibilities, the shaping of experiences and the delicate fragrance of true musicianship. / Dissertation (MMus(Chamber Music))--University of Pretoria, 2007. / Music / unrestricted

The purpose of this study was to examine the improvisation skills of musicians and non-musicians. Fifteen musicians and 13 non-musicians completed a pre- and post-performance questionnaire and played a free improvisation on the piano. The free improvisations were rated by three independent observers using the Music Improvisation Rating scale, and the responses on the questionnaires were tabulated. Results showed no difference between musicians and non-musicians for duration, expectation, self-reported interaction and satisfaction. There was, however, a statistically significant difference for judged interactions between the two groups. This may suggest that a client should not be excluded from music therapy because of lack of musical skills. The therapeutic and musical interactions, however, have to be handled and interpreted differently by the therapist. Working with musically skilled clients may require different interventions from working with musically naive clients.

The focus of this project is the performance of Sergei Rachmaninoff's Etudes-Tableaux Op. 39. The purpose is to provide interested performers with a clear understanding of the inner workings of these compositions and to address many problems of interpretation and technical challenges of the Etudes-Tableaux Op. 39. The author's goal is to offer creative interpretive explanations and technical solutions to the existing pianistic problems and to aid a performer in his/her approach to learning in order to create a credible and skillful performance. The study makes use of the multi-faceted opportunities that are appropriate to the lecture-recital format. In addition to the research presented in the script, the author incorporated a Power Point™ slide presentation (copies included with this document), audio excerpts from CD performances, live demonstrations on the piano, and a live performance of selected Etudes-Tableaux Op. 39 (all included on the DVD which supplements this document). The script includes a brief biographical sketch of Rachmaninoff, followed by the two research topics of performance practice, interpretive aspects and technical challenges. The Power Point™ presentation serves to enhance the content and to facilitate the explanations of some of the topics of the lecture. This is especially relevant when incorporating excerpts from music scores and examples of paintings. The CD audio excerpts and live demonstrations are intended to illustrate the details of the compositional and stylistic features and performance practice. Finally, the live performance of the Etudes-Tableaux Op. 39, and its audio/video documentation on DVD, confirms the study's research findings.

This study surveys and categorizes new techniques of sound production for the pianoforte which have come into prominent use since 1950. In addition the project developes a series of ten study pieces (etudes) which aid advanced piano students in acquiring the basic techniques required to perform many of the piano compositions written since 1950.A review of the piano literature of selected composers from 1950-1975 revealed thirteen basic techniques which have come into common use in these twenty-five years. Although many more techniques exist, they are combinations or variations of these basic techniques. The thirteen techniques have been classified into four categories: string techniques, keyboard techniques, string/keyboard techniques, and pedal techniques. Only techniques using sounds derived from the manipulation of the strings, keyboard, and pedals of the piano were included in this study.Although the study reveals that many of the techniques discussed were first introduced in the earlier part of the twentieth century, particularly through the compositions of Henry Cowell, they did not become common compositional techniques until the years after 1950. Their popularity after 1950 can be seen as part of a trend of composers becoming captivated with "sounds" per se, apart from their melodic or harmonic significance. This interest and fascination with "sound events" set the proper climate for the widespread development of the pianoforte techniques discussed in this paper. The development of the tape recorder and the long playing record made the interchange of musical ideas and the new techniques readily accessible.This study serves to clarify much of the mystique which surrounds many of the pianoforte compositions published since 1950. It discusses the new notational symbols used to designate the techniques and gives practical suggestions as to their proper execution.The series of study pieces developed for this project are meant to serve as an introduction to the new techniques. Although the pieces are written for the advanced piano student they are devoid of the rhythmic and visual complications which often surround compositions incorporating the new techniques. Except for two etudes, each piece uses only one new technique.

There are no figures available, but if a survey were made, possibly more people would be found engaged in the study and teaching of piano than any other musical instrument. It is much to be desired for both teachers and students to have an intimate acquaintance with the principles underlying the structure of modern piano technique. The situation as it generally exists contrasts sharply with the ideal situation. The ignorance of this important phase of piano study causes an enormous annual waste of time and money on the part of students. With an adequate technical knowledge, teachers, instead of allowing their pupils to practice blindly and mechanically, would be able to explain the reason for each movement they ask them to perform. Many failures in both classes occur because of the lack of understanding of what piano playing requires.