胡麥爾(1778-1837)是一位奧地利鋼琴家、作曲家、教師及指揮家，生前與貝 多芬齊名，被譽爲是當時歐洲最重要的鋼琴作曲家之一。可是近代的學者和聽眾對他的評價甚低，認爲他的音樂作品守舊、媚俗、不能登大雅之堂。 / 本文借鑒胡麥爾創作時期的文化背景，重新評價這位被忽視的音樂家對於開 發十九世紀鋼琴音樂所作出的貢獻。十八世紀後期中產階級的興起令音樂會 不斷增加，鋼琴演奏家不但成爲音樂會中的主要角色，而且他們所演奏的 「流行音樂」對於後世鋼琴技巧及音樂創作的發展，有舉足輕重的影響。 / 胡麥爾的鋼琴作品顯露出嶄新的作曲手法，當中包括較自由的轉調和曲式結 構，以及特別的音形法等，均源自音樂會中常出現的即興演奏，亦即「幻想 曲風格」。胡麥爾在正統器樂體裁的語境中引入幻想曲的技法，展示出流行 曲風格與正統音樂的結合，並開創了混合體裁的先河。其中，幻想曲與奏鳴 曲的混合體裁，對於後世的浪漫派作曲家如簫邦和舒曼等的創作模式尤有啓發。 / Johann Nepomuk Hummel (1778-1837) was an Austrian pianist, composer,teacher, and conductor who was described in his time as one of Europe's greatestpianist-composers. However, his music has been neglected and underestimated inmodem times, and is not considered to have any lasting influence on later compositional developments in the 19th century. / The present study aims to demonstrate that, though identified as a conservative composer, Hummel played an important transitional role in the evolution between Classical and Romantic styles. I argue that the post-classicalpianism that he cultivated presaged many significant stylistic trends of later composers, and that these were stimulated by the rise of public concerts. The demand for virtuosic performances by middle-class concert audiences led pianistcomposers like Hummel to explore new modes of improvisation, which in turn had a profound impact not only on keyboard technique, but also on compositional practice. / A comprehensive study of Hummel's piano music reveals a new compositional practice featuring juxtaposition of different figurations, freedom of modulation, and new formal structures. The fantasy style derived from concert 11 improvisations came to be incorporated in different keyboard genres, resulting in generic mixture. In particular, the hybrid fantasy-sonata foreshadowed the later practice of Schumann and Chopin, and contributed towards the merging of serious and popular styles in Romantic piano music. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Kam, Cheok Weng. / "December 2011." / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 160-174). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese. / List of Figures --- p.vii / List of Music Examples --- p.ix / Chapter Chapter One --- Introduction --- p.1 / Chapter Chapter Two --- Cultural Contexts for Hummel's Post-Classical Keyboard Style / The Rise of Public Concerts --- p.10 / The Development of Piano Music --- p.11 / Technical Innovations in Post-Classical Pianism --- p.12 / The Viennese Piano Style --- p.17 / The English Piano Style --- p.21 / Hummel's Keyboard Writing: Viennese Features --- p.28 / The Influence of the English Style --- p.31 / Legato Touch and the Chopin Style --- p.36 / Technical Innovations --- p.40 / Chapter Chapter Three --- Generic Transformation in Hummel's Piano Sonatas --- p.48 / The Keyboard Sonata in Hummel' s Time --- p.51 / Changing Approaches to Sonata Form --- p.56 / Hummel's Early Piano Sonatas --- p.61 / Sonata in F minor, Op. 20 --- p.67 / Sonata in C major, Op. 38 --- p.77 / Sonata in F-sharp minor, Op. 81 --- p.82 / Sonata in D major, Op. 106 --- p.93 / Chapter Chapter 4 --- The Evolution of Fantasias and Generic Innovations --- p.107 / Improvisation and Fantasy Style in the Eighteenth Century --- p.108 / The Eighteenth-Century Free Fantasia --- p.111 / Changing Conceptions of the Fantasy From C.P.E. Bach to Mozart --- p.118 / Changing Role of Improvisation in Performance Practice --- p.124 / From Harmonic Thinking to Thematic Thinking --- p.129 / Hurnmel's Fantasy Op. 18: The Fantasy-Sonata Hybrid --- p.134 / Chapter Chapter 5 --- Other Types of Generic Mixture Prompted by Fantasy Style --- p.141 / Generic Mixture with Theme and Variations --- p.142 / Caprices --- p.148 / Potpourri --- p.150 / Rondo --- p.152 / Chapter Chapter 6 --- Conclusion --- p.156 / Bibliography --- p.160

Originally presented as the author's Thesis (doctoral)--Universität, Leipzig, 2002. / Includes bibliographical references.

The analysis of Arne's six keyboard concertos uses the 1981 Oxford University Press edition of the musical scores. This edition relies totally a set of separate printed on parts that was published by Harrison & Company of London in 1793, and is the earliest known extant material for the concertos; the autograph MSS scores of Arne's concertos are not extant. The analysis first deals with Arne's general structural process, then examines the formal structure of the works in more detail, with particular attention given to the utilization of ritornello format and the influence from the Torelli-Vivaldi tradition. A discussion of the concertos' residual Baroque characteristics as well as several galant traits is included. Considerable attention is given to Arne's excellence in melodic writing, as well as to his fondness for the interval of an octave and to a particular rhythmic kernel. Also included is an analysis of a discarded movement from Concerto No. 1.The analysis of Arne's four symphonies uses the 1973 Oxford University Press edition of the musical scores. This edition relies totally on the set of printed parts from the 1767 John Johnston [London] edition, and is the earliest known extant material for the symphonies; the autograph MSS scores of Arne's symphonies are likewise lost or destroyed. As with the concertos, the analysis of the symphonies first looks at Arne's general structural procedures, then treats individual musical forms, with significant attention given to sonata form. An examination of Arne's remnant Baroque characteristics is included. As with the concertos, a substantial portion of the analysis is given to Arne's melodic writing.A short biography of Arne is included. This chapter discusses other instrumental works of Arne, as well as his more important vocal works. / School of Music

The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.

Call number: LD2668 .T4 1984 S335 / Master of Music / Music, Theatre, and Dance

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

Originally presented as the author's Thesis (doctoral)--Universität Tübingen, 1999. / Includes bibliographical references (v. 1, p. 467-478) and indexes.

A networked multimedia system to assist teaching music keyboard skills to a class is described. Teaching practical music lessons requires a large amount of interaction between the teacher and student and is thus teacher intensive. Although there is a range of computer software available for learning how to play the keyboard, these programs cannot replace the guidance of a music teacher. The possibility of combining the music applications with video conferencing technology for use in a keyboard class is discussed. An ideal system is described that incorporates the benefits of video conferencing and music applications for use in a classroom. A design of the ideal system is described and implemented. Certain design and implementation decisions are explained and the performance of the implementation examined. The system would enable a music teacher to effectively teach a music class keyboard skills.

This presentation demonstrates the significance both historically and aesthetically of the obscure Portuguese composer Carlos Seixas, (1704-1742), to the development of the keyboard sonata during the transitional period between the Baroque and Classic eras. The relationship between Seixas and his better-known colleague Domenico Scarlatti is explored and particular musical styles and techniques generally assumed as innovations of the latter composer are shown to exist in keyboard works of Seixas which probably pre-date those of Scarlatti. Thematically-related multi-movement sonatas and structural techniques anticipating the ternary single-movement sonata design are illustrated in several of Seixas1 sonatas. In addition to the recorded performance of selected sonatas by Seixas, this dissertation includes three tape recordings of selected piano works by J. S. Bach, Barber, Beethoven, Chopin, Franck, Prokofieff, and Scriabin.

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