Global ETD Search

1	Rubato and Climax Projection in Two Piano Sonatas by Scriabin Chiang, Emily Chia-Lin 02 August 2013 (has links) Alexander Scriabin (1872-1915) is well known as a composer for his inventive tonal language and as a performer for his approach to rubato. As is evident through his piano roll recordings, Scriabin's pianism epitomizes the performance practice of the early twentieth century and raises significant issues for the modern interpreter of Scriabin’s scores. The diversity in Scriabin's compositional style has prompted a variety of analytic approaches. Chapter one surveys Scriabin’s stylistic development in terms of his piano music and explores relevant analytic and interpretive approaches. Chapter two explores Scriabin's pianism as described by his close friends, pupils, and critics of the time. These reports characterize Scriabin's playing as rhythmically flexible, sensitive to different layers of voicing, and subtle in its dynamic nuances. In Chapter three, the two central topics of the dissertation—rubato and climax—are explored in general and in relation to Scriabin’s music. In Scriabin’s early piano music the indication for rubato correlates with a specific melodic contour, and the broader connection between rubato and melodic contour is explored. The study of climax draws on Austin T. Patty’s theory of pacing, in which climaxes of different types arise through different handling of various musical parameters. The musical components of Scriabin’s climaxes evolve during his output. Chapters four and five examine the Piano Sonata No. 4, Op. 30, and Piano Sonata No. 10, Op. 70, respectively. These case studies provide a formal-thematic overview of each work, consider the use of rubato and the handling of climaxes with respect to the theoretical frameworks established in Chapter three, and assess performance choices with reference to several recorded performances. This dissertation provides an alternative outlook to the performance of Scriabin's music. Tempo graphs reveal the pacing between phrases and sections and permit comparisons among artists from different generations. The recordings surveyed for both sonatas indicate that the flexibility in timing within individual phrases or thematic sections is much greater in the earlier recordings compared to more recent ones, as is the degree of tempo contrast between slow and fast sections. Rubato Climax Scriabin 0413
2	Rubato and Climax Projection in Two Piano Sonatas by Scriabin Chiang, Emily Chia-Lin 02 August 2013 (has links) Alexander Scriabin (1872-1915) is well known as a composer for his inventive tonal language and as a performer for his approach to rubato. As is evident through his piano roll recordings, Scriabin's pianism epitomizes the performance practice of the early twentieth century and raises significant issues for the modern interpreter of Scriabin’s scores. The diversity in Scriabin's compositional style has prompted a variety of analytic approaches. Chapter one surveys Scriabin’s stylistic development in terms of his piano music and explores relevant analytic and interpretive approaches. Chapter two explores Scriabin's pianism as described by his close friends, pupils, and critics of the time. These reports characterize Scriabin's playing as rhythmically flexible, sensitive to different layers of voicing, and subtle in its dynamic nuances. In Chapter three, the two central topics of the dissertation—rubato and climax—are explored in general and in relation to Scriabin’s music. In Scriabin’s early piano music the indication for rubato correlates with a specific melodic contour, and the broader connection between rubato and melodic contour is explored. The study of climax draws on Austin T. Patty’s theory of pacing, in which climaxes of different types arise through different handling of various musical parameters. The musical components of Scriabin’s climaxes evolve during his output. Chapters four and five examine the Piano Sonata No. 4, Op. 30, and Piano Sonata No. 10, Op. 70, respectively. These case studies provide a formal-thematic overview of each work, consider the use of rubato and the handling of climaxes with respect to the theoretical frameworks established in Chapter three, and assess performance choices with reference to several recorded performances. This dissertation provides an alternative outlook to the performance of Scriabin's music. Tempo graphs reveal the pacing between phrases and sections and permit comparisons among artists from different generations. The recordings surveyed for both sonatas indicate that the flexibility in timing within individual phrases or thematic sections is much greater in the earlier recordings compared to more recent ones, as is the degree of tempo contrast between slow and fast sections. Rubato Climax Scriabin 0413
3	Ur led är tiden : En fenomenologisk självstudie i övning av rubatospel på trumset / The time is out of joint : A phenomenoligical self-study in the practice of rubato playing on the drum set Hagersjö Sandqvist, Elias January 2019 (has links) Syftet med föreliggande studie är att undersöka timing som aspekt av och transkription i relation till musik i tempo rubato. I studien undersöks en fyra veckor lång instuderingsperiod där ett stycke musik i tempo rubato lärdes in med utgångspunkt i en ljudande förlaga. Studien utgår från ett fenomenologiskt livsvärldsperspektiv och resultatet grundar sig på loggboksanteckningar samt ljud- och videoinspelningar från övningsperioden. Resultatet presenteras utifrån temana instudering och inlärning och utförande, och visar att olika instuderingsmetoder använts med olika syften, att inlärningen starkt påverkas av tidigare erfarenheter samt att musikens avsaknad av stadig puls medförde svårigheter som inte uppkommer i instudering av musik där tempot och pulsen är mer konsekvent. I resultatet framkommer även att transkriptionen haft stor inverkan på instuderingen genom det förhållande som finns mellan transkriptionen och upplevelsen av musiken. Slutligen diskuteras timing och transkription utifrån litteratur och tidigare forskning i ämnet, med tonvikt på livsvärldsperspektivet. / The purpose of the present study is to examine timing as an aspect of and transcription in relation to music in tempo rubato. The study examines a four week learning period wherein a piece of music in tempo rubato was practiced with the original recording being used as the starting point. The study is based on the phenomenological life world theory and its results are based on logbook entries as well as audio and video recordings made during the practice period. The results are presented from the themes studying and learning and performance and show that different practice methods were used for different purposes, that the learning process was strongly affected by earlier experiences and that the absence of a steady pulse in the music brought about difficulties that don’t occur in the study of music where the tempo and pulse is more consistent. The results also show that the transcription had a great impact on the learning process through the relation between the transcription and the experience of the music. Lastly, timing and transcription is discussed through literature presented in the background chapter, with an emphasis on the life world theory. timing transcription rubato drum set self study phenomenology timing transkription rubato trumset självstudie fenomenologi Music Musik
4	Analyse und Performance mit der Software "Rubato" : zur Synthese einer computergestützten Interpretation zweier Etüden von Chopin Hinz, Christophe January 2006 (has links) Zugl.: Osnabrück, Univ., Diss., 2004
5	Collaborative Crossover: Identifying Classical Vocal Collaborative Piano Practices in Jazz Vocal Accompanying Morgenroth, David Jonathan 08 1900 (has links) Classical vocal collaborative piano and jazz vocal accompaniment are well-established fields with long-standing performance traditions. Classical collaborative performance practices have been researched and codified, but jazz accompanying practices largely remain in the domain of aural tradition. Both classical and jazz accompaniment share associated practices, such as rubato, transposition, and attention to lyric diction and inflection, but there is little previous investigation into the idea that classical collaborative practices might apply to jazz accompanying. This research examines jazz piano accompanying practices in sung verses of standard tunes to demonstrate how accomplished jazz pianists intuitively use many of the same techniques as classical collaborative pianists to create balance with singers. Through application of expressive microtiming analysis to graphical displays of transcribed recorded performances, a strong correlation is established between the classical and jazz vocal accompanying traditions. Linking classical practices to jazz potentially creates a foundation for jazz accompanying pedagogy. Classical jazz vocal piano collaborative accompanying performance rubato microtiming
6	Chopin's Cantabile in Context Frakes, Stephanie L. 22 May 2013 (has links) No description available. Music cantabile bon gout singing style ornamentation rubato
7	Historisk uppförandepraxis av Frédéric Chopins pianomusik Daniels, Jan January 2022 (has links) I detta kandidatarbete belyses historisk uppförandepraxis av Frédéric Chopins pianomusik. Uppsatsen går igenom musikens olika parametrar såsom tempo, dynamik och ornamentering, för att betrakta alla ur ett perspektiv av historisk uppförandepraxis. Till exempel så ansåg Chopin själv det tredje fingret vara en "stor sångare", och att det att spela med ett och samma finger flera gånger i rad bara förhöjde uttrycket. Särskilt fokus hamnar på tempo rubato som ett av de viktigaste kännetecken i Chopins musik. Termen betecknar en agogiskt fri melodilinje över ett stadigt pulserande ackompanjemang, som ett medel att ge musiken uttryck. Slutligen kompletteras de rent konkreta, handfasta interpretationsriktlinjer med större frågor kring Chopins notering, musikaliska stil och samtid. Det diskuteras även att historisk uppförandepraxis inte är vägen till den rätta interpretationen, utan snarare ett verktyg för att närma sig musik som är 150 år gammal. Romantisk uppförandepraxis Chopin piano Ballad nr 4 i f-moll op. 52 tempo rubato interpretation Music Musik
8	Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style. Nelson, Anne Marie 05 1900 (has links) The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's performance style documented in recordings of his own compositions and of works by Chopin, Schumann, Liszt, and Beethoven. Consideration is given to various aspects of interpretation, including counterpoint, asynchrony, tempo rubato, rhythmic variance, and pedaling. Each of these aspects of Paderewski's performance style is illustrated with transcriptions of excerpts from Paderewski's recordings. The author proposes examples of application of these aspects to Paderewski's Sonata, Op. 21. Chapter 5 provides a summary of the project. Appendix A contains an analysis of the rhythmic grouping that performers may find useful, and Appendix B contains the recital programs required for the degree program. Paderewski Op.21 Sonata performing recordings performance practice style tempo rubato
9	L'approche spatio-polyphonique dans les interprétations des pianistes de la deuxième moitié du XIXe siècle et la première moitié du XXe siècle / Spatio-polyphonic approach in the interprétations of pianists of the second half of the 19th Century and the first half of the 20th Century Mirensky, Shaul 21 November 2014 (has links) Le but de ce travail est d'étudier l'art d'interpréter de plusieurs générations de pianistes dont la formation remonte au XIXe siècle, mais dont l'activité s'est étendue jusqu'à la 1re moitié du XXe siècle. L'essor de l'interprétation qui marqua cette époque a prodigué des artistes qui - à la suite de leurs grands maîtres (Chopin, Liszt, A. Rubinstein) - ont déjà laissé un nombre considérable d'enregistrements permettant de saisir à travers leur jeu une image authentique de l’œuvre romantique. En nous référant à l'idée que l'essor du pianisme à la charnière des XIXe - XXe siècles provient de l'expansion remarquable de l'art d'interpréter au XIXe siècle, nous avançons l'hypothèse selon laquelle c'est précisément dans les positions esthétiques et dans la vision du monde propre à cette époque qu'il faut chercher les sources d'un tel essor. Parmi les caractéristiques importantes de la manière d'interpréter des pianistes de la 2e moitié du XIXe siècle, entrent d'abord en jeu la faculté de penser imagée, la liberté et une manière d'improviser en modifiant les textes des œuvres exécutées. Ces données se combinent d'ailleurs avec d'autres, comme l'intellectualisme. Les analyses de certaines particularités de style, des manières de jouer, typiques du XIXe siècle (comme le rubato, le « pointillisme etc.), nous révèlent ainsi ce que fut la réelle pensée polyphonique du Romantisme. Il ne s'agit pas de la seule écriture polyphonique, mais d'un principe polyphonique au sens plus large, s'exprimant à travers le style d'interpréter qui, à son tour, définit la perception spatio-temporelle spécifique de ces quelques décennies. / The aim of this work is to study the performing art of several generations of pianists who were trained in the 19th Century but who extended their artistic activity throught the 1st half of the 20th Century. The rise of the art of interpretation which marked this period gave the artistes who - following their great masters - have left a considerable number of records where their plaiyng conjures up an image of the romantic composition that may be more authentic, though it is quite different from that of today.Based on the idea that the rise of the pianism at the turn of the 20th Century comes largely from the remarkable expansion of the 19th Century performing arts, we hypothesize that it is precisely in the aesthetic positions and the vision of the world inherent in the Romantic era that we should look for the sources of such a rise. Chief among the important features of the style of interpretation of the pianists of the 2nd half of the 19th Century, was their creative thinking, but also the surprising freedom they enjoyed to improvise and modify compositions. Other features include the intellectualism of their approach to the performed composition. Analyses of certain peculiarities of style, of the ways of playing typical of the 19th Century (such as rubato, the « pointillism » etc.) reveal the real polyphonic thougth of the Romantic era. This is not only the polyphonic writing itself, but a polyphonic principle in a broader sense, manifesting itself through the style of interpretation which, in turn, defines the specific spatio-temporal perception of these several decades. Enregistrements historiques Écoles pianistiques Espace Interprétation Intonation Mélodie Phrasé Piano Pianistes Pointillisme Polyphonie Romantisme Rubato Style Technique Temps Virtuosité XIXe siècle XXe siècle Historical recordings Piano schools Space Interpretation Intonation Intoning Melody Phrasing Piano Pianists Pointillism Polyphony Romanticism Rubato Style Technique Time Virtuosity 19th century 20th century
10	Takt och Otakt Gahrton, Daniel January 2019 (has links) The theme of the song Lonely Woman by Ornette Coleman and the song It’s Halloween by The Shaggs has something in common when it comes to how the different instruments relate rhythmically to each other. I would call it a musical quality that could be described as a feeling of ungraspability. I had this quality in focus during a process of listening to music, writing music and playing music. To describe the cause of this quality I felt the need to define two concepts I named 1) rubato structures; rhythmic structures that aren’t based on, nor establish a steady pulse, and 2) tempo structures; rhythmic structures that are based on and establishes a steady pulse. Throughout the project I identified the cause of the quality, to be combinations of rubato structures and tempo structures, however my understanding developed during the project to a more specific definition which was layers of rubato structures and tempo structures. In the 6 compositions that this project resulted in, I created a number of musical situations with my group, which all had these elements. When listed, these situations rather systematically go through ways of combining structures in regards to different parameters. When listened to, at least for me, several of them give rise to the feeling of ungraspability I had in focus. My attempts to describe and analyze the many inspiring examples stretching from Charles Ives to Swedish contemporary vocal folk music, helped me to develope tools for making music of my own, rather than resulting in some objective truth, or a system for describing and analyzing music that would work objectively. One thing I would consider objectively true, however, is that there are a lot of different ways of creating rhythmic complexity, where some ways are very tedious and difficult for the musicians. With rhythmic layers of rather simple structures, containing rubato structures, I can create rhythmic complexity beyond the quantifiable, just by putting the human impulses in control. Takt in Swedish could mean many things, such as beat, meter, bar, measure. Otakt is often used as a negative word to describe a failed attempt to play in time, but is also linguistically the negation of takt (thus meaning no beat, no meter, no bar, no measure). Takt och (and) Otakt is therefor a play with words, since otakt relates to things in this study that is embraced rather than avoided. / <p>Bilaga: CD</p> rhythm rhythmic layers rubato tempo pulse contrast composition composing quintet ostinato loop structure polyphony autentic ungraspable impulse Ives Shaggs Ornette Coleman rhythmic analyzis composing tools rhythmic complexity organic rhythm composing for improvisors rytmik rytmiska lager rubato tempo puls kontrast komposition komponerande låtskrivande kvintett ostinato loop strukturer polyfoni autentisk ogreppbarhet impulser Ives Shaggs Coleman Ornette rytmisk analys kompositionsverktyg rytmisk komplexitet organisk rytmik komponera för improvisatörer Music Musik

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