This thesis focuses on the topic of piano accompaniment, which is an essential and beautiful part of piano playing. This field demands from the pianist a specific approach, which is a subject and core of many study programmes throughout the world. The aim of the first part of this thesis is to map the evolution as well as the current state of knowledge in the field of piano accompaniment using scientific literature on the subject as well as curricula of study programmes obtained from universities in central Europe, where piano accompaniment is taught as a major study course. A strong correlation has been established based on this research between theory in scientific literature on the subject and the current practice of piano accompaniment education in central Europe. The aim of the second part of this thesis is to expand further the level of knowledge in scientific literature, which is insufficient mainly in the accompaniment of solo musical instruments. For this reason, the second part of the thesis focuses on the specific problems in piano accompaniment of musical instrument groups, i.e. string instruments, woodwind instruments and brass instruments. For these three groups case studies have been created, which examine the specific characteristics of the musical instruments in relation to piano...

The problem of the investigator is the compilation of an exhaustive list of art songs other than those dealing with subjects of a romantic or religious nature.

The purpose of this study was to gather information about professional musicians’ development and use of functional piano skills in their careers. An online questionnaire was distributed to (N = 393) faculty members, professional performers, and private music instructors from different regions and institutions. The survey gathered information about their careers, piano training, use of functional piano skills, and proposals for the piano training of undergraduate music majors in their field. In total, 109 musicians completed the study: faculty members (n = 43), performers (n = 38), and teachers (n = 28). The results of this study showed that faculty members, performers and teachers generally performed similar musical activities, had comparable piano training, used similar piano skills, and agreed with each other about their suggestions for undergraduate piano training. There were, however, subtle differences among the three groups in the frequency with which they used functional piano skills. Professional musicians regularly transposed melodies, sight-read accompaniments, and played scales. They never improvised accompaniments, practiced and memorized piano solos, devised modulations, composed, and accompanied groups. In addition to the three skills that all professional musicians used, faculty members also played by ear, played chord progressions, and accompanied soloists regularly, performers regularly transposed accompaniments, harmonized melodies, and accompanied soloists, and teachers read open scores and transposed accompaniments frequently. Generally, professional musicians thought that piano skills were important to their careers, and many would have liked additional training on accompanying. Although most piano skills were learned outside of collegiate piano classes, participants in this study, regardless of the frequency with which they used these skills, thought that music majors should receive piano training on five skills: playing chord progressions, playing scales, sight-reading, harmonizing melodies, and reading open scores. Many participants indicated that practicing and memorizing piano solos were skills that should receive little training in collegiate piano classes. It is suggested that creating a group piano curriculum that effectively develops the functional piano skills valued and used by professional musicians becomes a priority for group piano teachers and researchers working on the preparation of professional musicians. / text

South African composer, Alexander Johnson is a prolific and outstanding figure among his contemporaries. His numerous works and contributions to South African classical and indigenous music is worthy of mention. Over the years, he has been recognised both locally and internationally for his contributions by receiving numerous awards, honorary positions, as well as commissions. His works have been performed both locally and internationally. Johnson’s compositional style mostly features diverse musical elements and devices from the post-tonal era. He also utilises special and unique compositional techniques in his works which give him a ‘signature.’ This study discusses and disseminates brief information on Johnson’s biography, as well as a catalogue of the composer’s published works. Most importantly, the three works in this study namely Kahlolo, Let_at_i, and Vocalise Africa feature Johnson’s unique interpretation of South African music in the twenty-first century. This study focuses on exploring the background of the three chosen works, and the inspiration behind the creation of these works. Furthermore, the compositional techniques employed by the composer, as well as the distinguishing features of his compositional style are also discussed. This study additionally aims to trace and disseminate similarities between the three respective works as well as analyse the three selected pieces with regard to mostly harmonic devices and techniques, melody, rhythm, form structure, texture, and registration for organ music. Each piece is comprehensively discussed separately, with emphasis on the above topics. Further research in the future could entail a study on style discussion of Johnson’s more recent compositions in other genres and instrumentation. / Dissertation (MMus)--University of Pretoria, 2019. / Music / MMus / Unrestricted

xi, 387 p. / A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006 / The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810. / Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon

Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.