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41	The historical and pedagogical relevance of the 24 Grandes Études op. 125 by Johann Nepomuk Hummel (1778-1837) Lemmer, Elise January 2013 (has links) This study investigates the importance of Hummel as a transitional composer, pedagogue and pianist between the Classical and Romantic periods, his contribution to the development of piano technique, and his influence as a pedagogue on later generations. The bases of this study were his treatise A complete theoretical and practical course on the art of piano playing (Ausführliche theoretisch-practische Anweisung zum Pianoforte-Spiele) of 1828, his Préludes op. 67 of 1814/1815 and his 24 Grandes Études op. 125 of 1833. Hummel’s treatise is an important musicological document detailing keyboard performance practices of the 18th and early 19th century. He lived at a time when the present day piano was still evolving. The new instruments with their resulting new possibilities found expression in his 24 Grandes Études op. 125. Important sources consulted were the following:  The piano concertos of Johann Nepomuk Hummel by F.H. Mitchell (1957)  The music of J.N. Hummel: its derivations and development by R. Davis (1965)  Romantic Music: A history of musical style in the 19th century by L. Plantinga (1984)  The Kristeva Reader edited by Toril Moi (1986)  How did they play? How did they teach? by S. Soderlund (2006); and  Johann Nepomuk Hummel: a musician’s life and world by Mark Kroll (2007). Although Hummel was deeply rooted in the Classical style, his compositions displaying the hallmarks of the style galant, can be divided into two style periods. The first style period ending about 1811 shows harmonic simplicity, regularity of phrasing and elegant cantabile melody. His second period post-1811 saw the composition of works with bolder, more dissonant harmony resulting in greater chromaticism. After 1814 his piano compositions demand greater variety of tone colour, more expressive use of dynamics, rubato, and advanced technical facility of the performer. According to Mitchell (1957: 75, 76) Hummel’s art and ornamentation are related to the virtuoso technique expanded by the Viennese pianistic style of the early 19th century. Hummel developed the ornamental style further, culminating ultimately in the poetry of the tone-coloured fioritura of Chopin. One aim of the study was to reveal the individual contributions Hummel made to the changes taking place between the Classical and Romantic styles. Innovative aspects include new virtuoso technical demands that would find fruition in the études of Chopin an Liszt. His influence on Chopin was undeniable as one perceives the early distinguishing characteristics of Chopin’s style in many of the compositions of Hummel. Schumann and Liszt were familiar with the music of Hummel in their formative years and there is much evidence of Hummel’s style in their compositions. In Chapter 4 on intertextuality, Hummel’s influence on Chopin, Schumann and Liszt is examined, and in Chapter 5 his pedagogical principles as set out in his treatise are appraised. Chapter 6 is an investigation into the technical principles embodied in Hummel’s 24 Grandes Études op. 125 and their influence on the development of the Concert Étude. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted Johann Nepomuk Hummel Transitional composer/pianist/pedagogue Piano pedagogy Étude Moscheles 24 Grandes Études op. 125 by Hummel 24 major and minor keys Intertextuality Chopin Schumann Liszt UCTD
42	Hanuš Bartoň jako skladatel, klavírista a hudební pedagog / Hanuš Bartonň as a composer, pianist, and academic music educator Lochovský, Martin January 2020 (has links) The author of this thesis endeavours to create a comprehensive portrait of Hanuš Bartoň, a Czech contemporary composer, pianist, and academic educator. The thesis is focused on his compositions and his contribution as a pianist and a teacher with the aim to establish a practical source of information. This source ought to fulfil both its musicological potential, especially concerning the analysis of Czech classical music of the end of the 20th century up till now, as well as its potential in the field of education, noting Bartoň's works for children and his academic pedagogical contribution. The thesis is systematically organised into several parts. The main body starts with the composer's biography. The attention then moves to his compositions, which are systematically presented and commented on from the perspective of Bartoň's musical style development and its tendencies. His works adhere to the postmodern ideal considering the fact that the music deals in a specific way with the synthesis of stylistic elements. The scope of his oeuvre is relatively wide. It mostly encompasses instrumental pieces, although there are many others including, for example, musical-dramatic works, vocal pieces, electroacoustic music, and music for the theatre. The individual compositions and their performances are...
43	Beyond Fourths and Pentatonics: A Critical Analysis of Selected Recordings of McCoy Tyner from 1962 to 1963 Satterthwaite, Gregory 05 1900 (has links) In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed selected portions of these recordings in order to better understand his early musical language as a soloist from 1962 to 1963. A portion of this paper is focused on the early reception of Tyner, which acknowledged him as an accomplished mainstream player with a firm grasp of the jazz tradition. Ultimately, my analysis shows that Tyner's early style was a balance of tradition and innovation, incorporating bebop syntax, pentatonic melodies, and quartal harmonies. McCoy Tyner Tyner pentatonics pentatonic scales quartal harmony fourth intervals bebop mainstream jazz jazz tradition jazz innovation jazz pianist jazz solos Tyner, McCoy. Jazz -- Analysis, appreciation. Jazz musicians. Jazz -- 1961-1970. Pianists. Academic theses
44	»Würde Sie’s zu sehr ermüden zu begleiten?« – Clara Schumann als Lied- und Kammermusikpartnerin Synofzik, Thomas 30 October 2020 (has links) 80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts. info:eu-repo/classification/ddc/780 ddc:780
45	“The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963) Adam, Karen 24 April 2012 (has links) This thesis explores the changing reputation and legacy of John Powell (1882-1963). Powell was a Virginian-born pianist, composer, and ardent Anglo-Saxon supremacist who created musical propaganda to support racial purity and to define the United States as an exclusively Anglo-Saxon nation. Although he once enjoyed international fame, he has largely disappeared from the public consciousness today. In contrast, the legacies of many of Powell’s musical contemporaries, such as Charles Ives and George Gershwin, have remained vigorous. By examining the ways in which the public has perceived and portrayed Powell both during and after his lifetime, this thesis links Powell’s obscurity to a deliberate, public rejection of his Anglo-Saxon supremacist definition of the United States. John Powell (1882-1963) Powell John musical propaganda Anglo-Saxon Clubs of America Anglo-Saxon supremacy white supremacy Racial Integrity Act of 1924 one drop rule racial integrity racial purity John Powell Foundation White Top Folk Festival Annabel Morris Buchanan Buchanan Annabel Morris Radford University Radford College Powell Hall Roy Hamlin Johnson Johnson Roy Hamlin classical music classical piano classical pianist pianist Virginian Virginia Earnest Sevier Cox Cox Earnest Sevier Walter Ashby Plecker Plecker Walter Ashby Sonate Noble Sonata Teutonica Symphony in A Rhapsodie Negre Richard Brockwell Brockwell Richard At the Fair Sonata Virginianesque Marcus Garvey Garvey Marcus John Powell Day Anglo-Saxon folk music Anglo-Saxon racism racist Martin Luther King Jr. King Martin Luther Jr. musical politics sociopolitical memory public memory public history reputation legacy Richmond Virginia John Powell Arts and Humanities History

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