No abstract available. / Dissertation (MMus (Performing Art))--University of Pretoria, 2006. / Music / unrestricted

A study of selected chance and indeterminate piano pieces was made with a two-fold purpose: (1) to provide an intermediate stage between the composition and performance of the selected works and (2) to illustrate the diverse ways spontaneity may be invoked. The investigation centered on three points: (1) the problems the performer might encounter in examining the pieces, (2) implications of the instructions and (3) possible realizations of the score. While each score examined showed a slightly different approach to chance or indeterminacy, the pieces within the two categories were seen to exhibit common features. Generalizations were made in three broad areas: (1) the instructions in the scores, (2) the notation and (3) possible solutions. The instructions in the indeterminate scores were found to be relatively straightforward; the performer is made aware of his choices or alternatives and manner of performance is discussed. Instructions in chance works are less explicit; the performer is not directed to any one solution. Some explanation of the notation is given and the performer is led to discover how extensive his freedoms are. Indeterminate works on the whole are found to use traditional notation. The notation may be altered in some way, but retains a resemblance to its traditional source. Chance notation is very diverse, but three general categories exist: (1) works using traditional notation, (2) works using traditional and non-traditional (graphic) notation and (3) works using only graphic notation. The possible solutions of indeterminate works are concerned with either the juxtaposition or the metric relationship of material. The degree to which the choices are guided varies in the works discussed. Possible solutions of the chance works involve interpretation of notation and various ideas presented in the instructions. The performer must respond in an individual way, drawing on his own ideas. In general, analyses of the works illustrated some features that might be expected in other chance and indeterminate works. / Arts, Faculty of / Music, School of / Graduate

The problem of how to perform the early Classical keyboard slur has prompted perplexity and dissension in generations of thoughtful performers and teachers. While the mandatory legato indicated by the slur is unquestioned, diversity of opinion centers around the performance of the last note of the slur, specifically regarding its length. Modern pedagogy has generally followed a time-honoured principle of an early release for the last note of a slur, yet many artists seem to disregard this guidance at will. This study attempts to clarify the issue by examining several treatises of the early Classical period. A brief history of the slur is included because its origins undoubtedly influenced how it was later performed. Most of the research, however, focuses on relevant material found in three treatises written by contemporaries of Wolfgang Mozart, namely, CPE. Bach, Daniel Turk, and Mozart's father, Leopold. The three components of the slur—the first note, the notes under the slur, and the last note are treated in turn by presenting information found in the treatises and providing interpretative commentary. This information is then applied to slurs found in the keyboard sonatas of Wolfgang Mozart. Unfortunately, treatises provide no definitive answer to the question of the performance of the last note of a slur. This lacuna is most likely due to the daunting task of describing the many musical circumstances involved in performing the last note under a slur. Solutions to the problem, therefore, cannot simply be founded solely on treatise instructions regarding the slur. Fortunately, the wealth of descriptive writing on the general art of effective music-making also provides some important clues to understanding the principles of performing the last note under a slur. Much of this study focuses on understanding the three important factors influencing the slur's ending: formal structure, Classical violin bowing technique and, most important, the musical context in which a slur is found. When these three aspects of performance are understood, much of the uncertainty surrounding Wolfgang Mozart's slurs will disappear. / Arts, Faculty of / Music, School of / Graduate

The purpose of this thesis is to explore and analyze the wealth of intrinsic value that is to be found in compositions originally written for piano duet (two performers at one piano). Only compositions originally conceived for piano duet will be considered transcriptions of works that were at first in the form of piano solo, string quartet, orchestra or any such medium other than piano duet, will not be considered in this writing. Also excluded will be works for piano duet that are not of concert hall use; this paper is concerned with that literature for piano duet which is of a caliber transcending pure pedagogy. Another object of this thesis is to show what a remarkable amount of art has been cast in the form of piano duet literature.

The lecture recital, given April 13, 1981, began with biographical background for Busoni's compositional development leading to his mature style, as found in the Toccata, the Carmen Fantasy, and the Mephisto Waltz. The three works--an original composition, an operatic paraphrase, and a transcription from an orchestral score--were then detailed with emphasis placed primarily on Busoni's aesthetic ideals in relation to the three works.

No description available.

This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.

The lecture recital was given June 20, 1977, Copland's treatment of the fantasy concept was discussed along with compositional techniques used in the Piano Fantasy. The Piano Fantasy was performed.

Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through utilization and expansion of the basic form of ABA Coda. Through his use of varied ABA form with repeated and parallel passages, Gottschalk developed his particular style of phrasing, texture, and rhythm, all of which figure prominently in his works. Four pieces are examined with these concepts as the basis for analysis.

The purpose of this thesis is to discuss the piano style of Maurice Ravel, including his musical style and influences of other composers on his piano works.