Academic literature on the topic 'Concerts'

The encore piece for piano is viewed both as an historical study and an investigation of current programing trends. Data from the New York Times, music reviews and questionnaires completed by distinguished American pianists provided information that was compiled and charted.A study of the years 1920 through 1990 showed a discernible move away from extended encore segments, with a shift toward a single encore offering. Spontaneous rushing of the stage by theaudience and demanded immediate re-hearings of works faded shortly after 1940.Questionnaires revealed present-day artists are most influenced by length and character of the work, as well as the ending program piece in selecting encores. Two additional influences are the desire for contrast in succeeding encores and spontaneity in encore choice. Questionnaire answers reaffirmed that fewer encores are given in the 1990's; also noted were the facts of encores becoming shorter, more substantial, and less virtuosic. An inclusion of lesser-known works from the twentieth century was indicated.Research indicates that selecting the appropriate encore is both an art and a science. The importance of the intuitive art of judging audience response and spontaneity of encore choice is matched only by the role of the analytical in studying past successful encore models and programing an effective encore sequence. A successful encore is determined as much by what precedes and follows its performance as by its own character.<br>School of Music

This study was conducted to ascertain and report attitudes of faculty-artist piano teachers at NASM-accredited music units with graduate programs concerning the diverse aspects of designing graduate student and artist piano recitals. A second objective was to compare and contrast the principles which govern program-building practices of graduate and artist piano recitals.The study consists of five chapters. Chapter 1 presents background information and the purpose, delimitations, and significance of the study. Chapter 2, a review of related literature, reveals that discontent toward program-building practices began as early as the middle of this century.Chapter 3 delineates the methods and procedures employed to collect the data. Responses collected from the questionnaire are reported in Chapter 4. Four recital types--graduate recitals, faculty-artist recitals, artist recitals in major cultural centers, and artist recitals in outlying areas are examined in terms of program length, format, content, and balance. Chapter 5 provides a summary of the study as well as comparisons and conclusions.It was found that graduate student and artist recitals enjoy few program-design commonalities. Analysis of the data revealed that only four commonalities were shared by all four recital groups: 1) Consider the respective moods of the repertory "Almost Always" or "Often" when determining the construction of a program, 2) a program's format should be chronological "Sometimes," 3) the "First Half" of a recital should be longest, and 4) lengthy works may be placed in "Both Halves" of a program.Respondents gave "Performer's Security" top priority when selecting the opening work for all recital types. Four criteria considered very important when selecting closing works were: 1) Mood, 2) Intensity, 3) Effectiveness, and 4) Performer's Security.Challenging the notion that there is one correct way to design a recital, participants offered a variety of strategies and formats. Finally, lists of suggested opening and closing works, works generally considered difficult for audiences and works composed post-1950 which have found favor with audiences are appended to the study.<br>School of Music

Reid Concerts began in 1841 and were defined by Donald Francis Tovey as those concerts presented by the University of Edinburgh under the auspices of the Professors of Music, based on the guidance laid down in the will and codicil of General John Reid. Reid was a major benefactor who bequeathed funds for the establishment of the Chair of the Theory of Music at The University of Edinburgh with a condition attached to the bequest that a concert be held each year in his memory. This thesis will explore the development and evolution of the first 100 years of these concerts through the contents of the available original concert programmes and related ephemera held in the Centre for Research Collections at The University of Edinburgh - a valuable historical resource which has never been fully recorded or researched. Analysis of this resource will focus on the programming, people, personalities, places, and perspectives associated with the performances and offer insight into the choices and influences of the Professors of Music charged with the organisation and implementation of the concerts over an extended timescale from 1841 to 1941. To aid this analysis a searchable online database has been designed and developed to provide outline performance details and some background information on the contents of many of these Reid concert programmes: http://www.reidconcerts.music.ed.ac.uk. The database is both a finding aid to these contents and a research tool providing a basis for future studies. This research will contribute to the history of the University and City of Edinburgh and the social and musical history of concerts in the University from 1841. The findings emphasise the usefulness of printed concert programmes in recording trends in concert presentation and programming and will broaden the knowledge of this use of such ephemera for academic research.

During the traditional electronic musical performances there is a lack of communication between the performer and spectator. Communication is necessary to a performance as it is a social act, created both by the performer, as well as the spectator. Through exploring the augmentation of visibility and physicality in regards to the electronic performance I attempt to enhance that communication through a concept called Sonicality, created out of the findings of this paper, that addresses the use of tactile vibrations, controlled by a performer in a visible manner, received on the spectator’s body, in relation to the music heard. Through the validation of this concept I manage to get an insight into the spectators’ needs and desires, grounding the validity of the concept as something that augments experience, interaction and understanding, enhancing the performer-spectator communication.

<p> This treatise explores the historical background of instrumental educational outreach concerts, and provides an overview of current educational outreach programming. The closing section discusses educational outreach concerts presented by a solo violinist, and provides a blueprint for a teaching performance which explores the storytelling power of music. Newly commissioned works for solo violin are included which are especially suited for outreach performances for children.</p><p>