No description available.

Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [121]-127).

The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing a. certain consistency over a period of about twenty years. Most of Czemy's teaching on the performance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from Beethoven's own practice. However, he sometimes altered Beethoven's directions because he considered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because they did not conform to contemporary performing styles, or simply because they did not suit the more resonant pianos of his day.

Taking as its focus the ‘actor-creator’s’ process in devising practices, this study explores the notion of the ‘poetic body’ developed by French theatre pedagogue Jacques Lecoq (1921 - 1999) and the writings of French philosopher Gaston Bachelard (1884 - 1962) on the ‘poetics of imagination.’ The overarching aim is to originate a new ‘embodied poetics’ whereby the sensate, feeling body actively explores correspondences with the ‘material elements’ of earth, air, fire and water. These are experienced as ‘poeticising substances’ – catalysts and conductors for an embodied imagination. More specifically, this thesis asks the following question: What new understandings can a relational encounter between Lecoq’s pedagogy and Bachelard’s ‘poetic imagining’ reveal about the ’poetic body’ and how might these new understandings originate a devising process? I combine three solo practical projects with accompanying written analysis, to first interrogate the working methods I have inherited as a practitioner and teacher since my time as a student at the Lecoq School, from 1987 to 1989. This is followed by an embodied exploration of Bachelard’s ‘poetic imagining’ process through my own practice. In the final project, I develop an ‘embodied poetics’ for devising, based on the ‘actor-creator’s’ active participation with the world and a recognition that the poeticising ‘I’ is intimately entwined with the material elemental substances that comprise it. In considering the material elements as originating substances for an imagining body, their dialectic qualities offer infinite possibilities for a permanent renewal, expansion and transformation of practice. This study also proposes a new reading of Lecoq’s notion of the ‘poetic body’ from an embodied perspective. Equally, in applying Bachelard’s ‘poetic imagining’ to the devising process, I seek to revivify and reposition his philosophical standpoint from a contemporary perspective within the field of interdisciplinary practices.

This study examines the history of the cadenza, as well as the fundamental elements of a good cadenza. This paper is intended to help the modern trombonist learn to create appropriate, original cadenzas for classical trombone concerti. Both historical and modern writing,as well as extant classical cadenzas are used as a guide.

Includes bibliographical references. / The explication presents Orange Book as a piece of site-responsive public space performance, showing how similar patterns of thought and feeling emerging in both research and artwork led to elaborating the notion of an art methodology for the work. The explication further considers a process of research into drama and history in relation to contemporary performance: where narrative dramatic forms,whether organic or fragmented, show history as a fait accompli, an aesthetic orientation around open structures and non-narrative performance modes allows for a constructive, ethically directed, philosophical engagement with historical process. The explication thus demonstrates implications of biography, philosophy, history and dramatization in my search for a distinctive performance idiom.

Choral music in the United States before 1800 was almost exclusively composed by tunesmiths who also worked as singing masters. William Billings (1746-1800) was the most prolific of these composers, and, in 1770, he was the first individual in North America to publish a collection composed entirely of his own works. This collection was known as a tunebook, and was designed to assist in the teaching of musical fundamentals and vocal performance in the singing schools. Five additional tunebooks followed; three of these six contained lengthy prose introductions in which Billings addressed pedagogy, music theory, and sight singing. This prose provides important information about the performance practice of the period, including the issues of accompaniment, articulation and text, dynamics, balance and voicing, ornamentation, and vocal timbre. Previous researchers have often mistakenly grouped the music of the tunesmiths with the later southern hymnists. This has distorted many general notions of historically informed performance practice for the pre-1800 tunesmiths. An examination of what Billings specifically says regarding issues of performance practice in his tunebook introductions, as well as inferences from additional prose material, will help to guide modern conductors to more historically appropriate performance practice. A comparison of this information to prior research will isolate approaches that have previously been considered accurate performance practice, but may, in fact, be inappropriate for choral music of this genre. Finally, an understanding of the intended purpose of the compositions, as well as the historical context, will help to inform performance practice.

Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 113-115). Available also in a digital version from Dissertation Abstracts.

Thesis (D.M.A.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 117-119) and discography (leaf 120).

Mozart's Concerto for Bassoon, K. 191 has long been an important part of the Classical era bassoon repertory. Few composers of the Classical period wrote for the bassoon as a solo instrument, and even fewer still paired it with an orchestral backing. K. 191 not only is unique within the bassoon repertory, but also stands out in the compositional career of Mozart as being his first completed wind concerto, composed at the age of eighteen. Mozart did not write cadenzas for K. 191; therefore a large part of the performance itself is untouched by Mozart's hand. Depending on personal (or teacher) preference, the performer may write an original cadenza for the performance or use an existing cadenza written by a well-known bassoonist or composer. In either case, the cadenza is removed stylistically from Mozart and almost always removed from the Classical period. While there are many guides on how to write a cadenza in the Classical style, there are none specific to the bassoon and its capabilities, strengths, or weaknesses during this period. Also lacking is an informational resource that critiques cadenzas on how they adhere to or stray from Classical performance practice, and more specifically to the performance abilities of the bassoon. A document that analyzes the abilities of the Classical era bassoon would be a useful guide in an era where accurate performance practice is increasingly sought after, even expected, in live performance.