Academic literature on the topic 'Etudes Op'

In this study, it was aimed to examine C. J. Andersen’s op.15 etude book used in flute education in terms of measurement units, vocalization techniques, technical studies, nuance terms, speed terms, tonality. Thus it is aimed to reveal the gains that the etudes can provide for the student. Document analysis method was used in the study. The summary of results as follows. Etudes are mostly written in 4/4 unit of measure. It was found that mostly legato and staccato was used a great extent in the etudes. Interval was run the most in the etudes. Also etudes include technical studies such as arpeggio, chromatic scale, scale studies, and tonality. The terms crescendo and decrescendo nuances were used in all of the etudes. Mezzoforte, forte and piano nuances were also included in the etudes. Allegro and its varieties have been used as the term of speed in most of the etudes. In the etudes, 24 different tones were used, 12 of them in major tones and 12 of them in minor tones. Tone, measure and tempo changes were made in some etudes. Considering the results, Andersen’s op.15 etude book systematically covers many issues in terms of flute education. Etudes can provide to the student in flute education both in technical and musical gains; legato, tongue technique, articulation, interval, arpeggio, intonation, chromatic scale, phrasing, good breathing technique, a quality tone and a correct blowing angle. Instead of playing a etude book from the beginning to the end, the student’s difficulties can be eliminated by conducting etudes on whatever subject he/she has inadequate or difficulty. With this analysis, the topics in the etudes can be classified and presented in line with the needs of the students.

Bartók's mature musical language was born of both folk and art-music sources which influenced the composer in equal measure. The Three Studies for piano, Op. 18, represent a significant step in the evolution of the composers synthesis of the art-music source. All three etudes are based on equal-interval chains called interval cycles. Each of the three etudes represents a stage in the process of intervallic augmentation the composer named diatonic expansion. This concept, together with that of chromatic compression, is fundamental to all his mature works. The first etude expands the chromatic scale to two whole-tone scales. In the second etude the intervals are expanded to include the minor and major thirds as well as the perfect fourth, while in the third etude the tritone becomes the final step in the expansion process. The interactions of the ever-expanding interval cycles generate an array of diatonic, non-diatonic and abstract pitch collections. Parts of the opus rely on the concept of tonal progression based on axes of symmetry, which reached its perfection in later works such as the Out of Doors Suite and Music for Strings, Percussion and Celesta.

Statement of the problem. The paper is devoted to the analysis of the pedagogical system of piano technique evolution which developed in the works of an outstanding Polish composer, pianist, teacher and conductor M. Moszkowski. Under consideration are pedagogical principles of the musician, his extensive editing work. Under analysis is the instructive pedagogical repertoire of Moszkowski: “School of double notes” op. 64, “A Book of Scales”, which outlines the fingering principles of the musician, etudes op. 72, 78, 91, 92, a collection of compositions “The Master and His Pupil” op. 96 and “Technical sketches” op. 97. The arsenal of techniques used in these works is rich and diverse, which emphasizes the artistic advantages of these compositions. The value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist is defined, since the pedagogical works of the composer can still serve as a good help for middle and high school students of music schools and colleges. The purpose of the article is to reveal the value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The study of M. M. Moszkowski’s piano etudes became a significant contribution to the development of West-European art of the second half of the 19th and early 20th centuries. The analysis of etudes allowed highlighting a free choice of figurative and stylistic priorities, tendency towards small size, focus on a certain type of technique, expressiveness of technically virtuoso tasks, use of simple forms, artistic diversity, prevelance of light mood and moving pace. These piano exercises are clearly presented as an integral part of Moszkowski’s pedagogical method, as well as the specifics of the author’s performance style. Moszkowski’s etudes are a kind of bridge between virtuosity skills and bright images, they help not only improve the technique but also develop student’s musicality. Undoubtedly, this approach provides a solid foundation in all areas of piano performance. Moszkowski’s etudes are less difficult to study, they have technical value that can be quickly acquired, but at the same time they are sustainable and program. Sometimes Moszkowski treats the etude genre very freely: as a substitute for another genre (Two miniatures op 67) as part of the dilogy cycle (Caprice-etude and Improvisation op. 70) and others. These works are little used in modern performing practice. At the same time, they represent a very interesting material that clearly reflects the distinctiveness of musical language of late romantic pianists, to which Moszkowski belonged. Conclusions. Special attention should be paid to the composter’s great contribution to the enrichment of the instructive piano repertoire. Unfortunately, pedagogically orientated works are not so often performed in today’s educational practice. Only 15 virtuoso etudes from op. 72. are widely used. It would be very useful for young musicians to get acquainted with numerous etudes of the composer, since they are of unquestionable interest from the viewpoint of the development of both technical skills and figurative thinking of students. This publication is intended to attract the attention of teachers and performers to wider mastering of piano etudes by M. Moszkowski, which would greatly enrich modern piano repertoire. Unfortunately, many piano compositions of the composer, which were created with a pedagogical purpose, are not used widely enough in educational practice today. Many of them are aimed at the development of elementary piano skills necessary for the development of a young performer: five-finger position, scale sequences, and chords. They are very important, that is why they are described in easy etudes, systematizing the basic forms of virtuosity. Such compositions of Moszkowski take the performer from the basics to the tasks of the highest virtuoso difficulty. His pedagogical system allows us to gradually and systematically improve pianism. The piece must be learnt in a certain sequence: mastering the musical text; playing in the tempo specified by the composer; analysis of the content of the work. Indeed, the performer should be able to divide the work into certain stages, especially if it concerns etudes – to strive for the maximum clear statement of the technical task, excluding anything that could hinder its accomplishment.

Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage à Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.

Abstract A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).

LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.

This project report explores Cécile Chaminade’s Six Études de Concert, Op. 35. Chaminade was a popular composer during her lifetime. Many musicians respected and admired her works despite that she was a female composer born in the mid-nineteenth century. Her piano works were widely published in America and Europe. Though not as popular today, her admirable works can be effective, deserving occasional performances on the concert stage.

The introduction of this report discusses Chaminade’s success as a woman composer, the decline of her fame after she die, and the rising interest in her works by scholars and musicians of the present day. Subsequent chapters examine Chamiande’s musical career, compositional style, and influences by other Romantic composers. The final chapter is an analysis of Six Études de Concert, Op. 35, focusing on the title and the character of each piece, with a few practical suggestions for the performer.

The focus of this project is the performance of Sergei Rachmaninoff's Etudes-Tableaux Op. 39. The purpose is to provide interested performers with a clear understanding of the inner workings of these compositions and to address many problems of interpretation and technical challenges of the Etudes-Tableaux Op. 39. The author's goal is to offer creative interpretive explanations and technical solutions to the existing pianistic problems and to aid a performer in his/her approach to learning in order to create a credible and skillful performance. The study makes use of the multi-faceted opportunities that are appropriate to the lecture-recital format. In addition to the research presented in the script, the author incorporated a Power Point™ slide presentation (copies included with this document), audio excerpts from CD performances, live demonstrations on the piano, and a live performance of selected Etudes-Tableaux Op. 39 (all included on the DVD which supplements this document). The script includes a brief biographical sketch of Rachmaninoff, followed by the two research topics of performance practice, interpretive aspects and technical challenges. The Power Point™ presentation serves to enhance the content and to facilitate the explanations of some of the topics of the lecture. This is especially relevant when incorporating excerpts from music scores and examples of paintings. The CD audio excerpts and live demonstrations are intended to illustrate the details of the compositional and stylistic features and performance practice. Finally, the live performance of the Etudes-Tableaux Op. 39, and its audio/video documentation on DVD, confirms the study's research findings.

This document demonstrates that study and performance of newly-composed versions of four etudes from Ludwig Milde's Concert Etudes, Op. 26 (publ. post. 1935) can prepare advanced bassoon students for performance of not only the etudes themselves (which includes advanced techniques such as rapid single tonguing, double tonguing, difficult slurring, tapering, an execution of complicated scales and arpeggios in the context of a musical passage, half-hole, vibrato, flicking, and control of long notes in extreme registers), but also can be used to address both performing and technical issues not covered in Milde's study, such as the problems posed by ensemble playing, tone-color, and rhythm.The project analyzes a selection of four etudes from the Concert Etudes, Op. 26 in terms of harmony and form, explores the technical difficulties found in each one of them and their possible approaches, and provides arrangements for two bassoons, bassoon and piano, and bassoon quartet, giving the student a new palette of options for the study of the Concert Etudes, Op. 26 and new devices for the improvement of various techniques.

Este trabalho propõe uma análise sistemática das demandas mecânicas instrumentais básicas do violão, visando, assim, uma aquisição consciente de determinadas movimentações. A base teórica foi composta por autores que abordam questões essencialmente práticas do fazer instrumental do violão, destacando-se Abel Carlevaro e Eduardo Fernandez; este último diferencia claramente os termos mecânica e técnica, aspecto fundamental neste trabalho. As movimentações de cada mão são divididas entre horizontais (no sentido das cordas) e verticais (entre as cordas) e entre os aspectos mecânicos relacionados à localização das mãos no instrumento (chamados por nós de parâmetros e suas expansões) e os relacionados às referências ou movimentações auxiliares na mudança entre duas localizações (chamados de recursos). A partir da ordenação proposta e das notações desenvolvidas, concebemos uma sistemática de estudo, visando à aquisição de tais movimentos, aplicada nos 25 Etudes Mélodiques et Progressives Op.60, de Matteo Carcassi. Foram realizadas propostas de caráter vocabular e elementos pouco ou não debatidos foram tratados, fornecendo material para discussões futuras dentro do amplo campo temático da mecânica instrumental. A organização sistemática dos elementos mecânicos proposta, aplicados na obra de Carcassi, procurou uma maior eficiência no processo de aprendizagem, buscando melhorias em relação à efetividade técnica e à maior consciência das demandas instrumentais.
This project proposes a systematic analysis of the basic mechanical demands of the guitar to assist a conscious development of certain gestures. The theoretical basis in this work is compound mainly by the ideas of authors that dealt with practical issues of the instrumental making of the guitar, such as Abel Carlevaro and Eduardo Fernandez; the last one clearly differentiates the terms mechanical and technical, fundamental aspects in this work. The gestures of each hand are divided between horizontal (in the direction of the strings) and vertical (between the strings) and between the mechanical aspects related to the location of the hands in the instrument (called by us of parameters and their expansions) and those related to the reference or auxiliary gestures in the change between two locations (called resources). From the proposed ordering and the developed notations, we designed a systematic study aimed at the developing of such gestures, applied in the 25 Etudes Mélodiques et Progressives Op.60, by Matteo Carcassi. The proposal of a vocabulary was made and often ignored elements were approached, providing content for future discussions within the wide topic of instrumental mechanics. The systematic organization of the mechanical elements proposed, applied in Carcassi\'s music, sought greater efficiency in the learning process, seeking improvements in relation to the technical effectiveness and awareness of the instrumental demands.

The scope of this study includes relevant background information on Peter Schat and his compositions and process, an explanation of the Tone Clock system and a detailed analysis of one of his compositions, the Etudes for Piano and Orchestra, Opus 39. The intent is to demonstrate how the Tone Clock naturally evolved from the practices of the Second Viennese School and how it relates to both new and existing modern music. The study is divided into five chapters. Chapter 1 presents a brief introduction to Peter Schat and the Tone Clock. Chapter 2 provides a more detailed biography of Peter Schat and traces the development and evolution of his compositional techniques, ultimately culminating in the Tone Clock. Chapter 3 provides a basic explanation of the Tone Clock itself, with demonstrations of various components through musical examples and illustrations. Chapter 4 is a detailed analysis of the Etudes for Piano and Orchestra, Opus. 39. Chapter 5 summarizes the results of the study, with special attention to the impact of the Tone Clock on performance from the perspective of the performer. The analysis of the Etudes was completed by using the Tone Clock as an analytical tool, aided by the composer's original manuscript and sketches for the work. The goal of the study is to establish the value of the Tone Clock as both a compositional and analytical tool.

Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.

Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisors: David Carson Berry (Committee Chair), Jonathan Kregor (Committee Member), Lee Fiser (Committee Member). Title from electronic thesis title page (viewed May 1, 2009). Includes abstract. Keywords: Cello; Schenker; Performance; Franchomme; Piatti; Caprices; Etude. Includes bibliographical references.