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Academic literature on the topic 'Music appreciation – Poland – 20th century'
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Journal articles on the topic "Music appreciation – Poland – 20th century"
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Spencer, Piers. "John Paynter, 1931–2010: an appreciation." British Journal of Music Education 27, no. 3 (September 22, 2010): 221–23. http://dx.doi.org/10.1017/s0265051710000306.
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John Paynter's death this year has deprived British music education of its most inspirational advocate during the second half of the 20th century. John's teaching in primary and secondary schools during the 1950s played a major role in shaping his vision of music at the heart of the curriculum. With his ear for an apt phrase, John loved to quote American novelist Toni Morrison's description of the wonderful presence and power of music as ‘a way of being in the world’. During the 1960s, John trained teachers in colleges in Liverpool and Chichester, before joining the innovative music department at the University of York, where he remained until his retirement in 1997. It was with the publication in 1970 of Sound and Silence that his years of pioneering work with children and older students came to fruition and the force and originality of his ideas about music education made their first big impact.
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O'Loughlin, Niall. "Slovenian Music in its Central European Context: the 20th-century experience." Musicological Annual 40, no. 1-2 (December 17, 2021): 267–76. http://dx.doi.org/10.4312/mz.40.1-2.267-276.
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Slovenia has had a rich and varied musical histoiy, despite the fact that it was part of the Habsburg Empire and then a constituent part of Yugoslavia. Its recent smooth transition to independence and its realignment with Central Europe have been noteworthy. In the past, Slovene or part-Slovene composers such as Gallus, Tartini and Wolf worked abroad, while in the 20th century composers normally returned to Slovenia after studying abroad. For example, Marij Kogoj and Slavko Osterc studied in Central Europe and maintained a strong musical connection with Central European modernism in the 1920s and 1930s. Kogoj's strong links with Viennese expressionism were well expressed in the opera Črne maskeof 1927, while Osterc's connections with Hindemith, Honegger and others is evident in the opera Krog s kredo and orchestral works such as Mouvement symphonique. On the other hand, Kozina, Arnič and Škerjanc developed a less advanced style and kept less contact with the rest of Europe. The political situation in the 1940s and 1950s made outside travel difficult, changing the situation dramatically. Composers such as Ramovš and Uroš Krek had different experiences: Ramovš managed to study with Frazzi and Casella in Italy, while Krek did not study abroad. Both, however, produced works in a distinctive neo-classical style that typified the immediate post-war period. Ivo Petrić's music follows the styles of Prokofiev and Shostakovich. From the late 1950s onwards the situation changed with strong contacts with Croatia, Poland and countries of the West: France, Germany, the United Kingdom and the United States in particular. This contact encouraged the emergence of a new avant-garde in Slovenia in the 1960s with such composers as Petrić, Ramovš, Lebič, Jež, Božič, Matičič, Globokar, Stibilj and Štuhec coming into prominence. Later they were joined by Pavel Mihelčič and Maks Strmčnik. Matičič and Globokar mostly stayed abroad, while Stibilj returned permanently later. In the decades before and after independence in 1991, a new generation of composers became established, with the most advanced composition by Aldo Kumar, Uroš Rojko, Tomaž Svete, Brina Jež-Brezavšček and Nenad Firšt. Postmodern tendencies are found in the music of Jani Golob and Marko Mihevc. Ali these composers are providing the Slovene musical scene with a wide variety of distinctive music that is both challenging and interesting.
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Juszyńska, Krystyna. "Conducting achievements of Witold Rowicki in Poland and abroad." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 37–55. http://dx.doi.org/10.5604/01.3001.0010.5350.
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Witold Rowicki (1914–1989) was one of the most renowned Polish conductors of the 2nd half of the 20th century who gave unique renditions of symphonic music, based on a careful selection of dynamics, tempo and sound proportions between particular groups of instruments. The range of his artistic achievements as a conductor is impressive and comprises over 600 concerts in Poland (most of them with the Warsaw Philharmonic and the Polish National Radio Symphony Orchestra in Katowice), more than 500 concerts abroad, huge concert repertoire ranging from classicism to contemporary music, performances given alongside a number of outstanding soloists, more than 100 records, compositional output, numerous arrangements and instrumentations, popularization of music, teaching activity. His biggest organizational achievement was the revival of the Polish National Radio Symphony Orchestra in Katowice (1945) and the Warsaw Philharmonic Symphony Orchestra (1951) after the World War II. Witold Rowicki was a conductor of a particular merit for Polish culture.
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Skrzypczyk, Aleksandra. "Próba biografii akustycznej Brunona Schulza. Doświadczenia audialne." Schulz/Forum, no. 16 (May 25, 2021): 28–44. http://dx.doi.org/10.26881/sf.2020.16.02.
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The article analyzes the potential sonic experiences of Bruno Schulz. The numerous references to music in his prose inspire questions about Schulz’s attitude towards music. Based on the testimonies of his family and friends, it is impossible to determine Schulz’s opinion on the art of sounds, or whether he was musical and what kind of music he listened to. The ‘acoustic biography’ presented here becomes a metaphor for Schulz’s probable auditory experiences. Arranged in the chronological order, it respects the principles of probability, and is based on the historical and cultural context of 19th- and 20th-century Poland.
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Garlińska, Paulina, and Magdalena Bąk. "Works by the 20th/21st century composers from Łódź for a guitar – harpsichord duo." Notes Muzyczny 2, no. 12 (December 13, 2019): 61–98. http://dx.doi.org/10.5604/01.3001.0013.7168.
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The combination of the guitar and harpsichord has inspired composers all over the world for years. Łódź is the place where the greatest number of such pieces in Poland has been written by Jerzy Bauer, Bronisław Kazimierz Przybylski, Sławomir Kaczorowski, Stanisław Mroński, Andrzej Cwojdziński, and others. The creative output of the composers listed above for instruments such as the harpsichord, which is mainly associated with early music, and the guitar, which had its rebirth after WWII, is worth discussing. Composers from Łódź have made a great contribution to the development of literature for such an unusual line-up. Almost all compositions have been written for the Stefańska – Oberbek duo who were active in Cracow in the second half of the 1980s. The present article is mainly based on the materials shared by the guitarist Jan Oberbek and the Elżbieta Chojnacka Center for Contemporary Harpsichord Music. The materials have been discussed in terms of their content, which may be of value for new performers of this music. In each of these works an instrument player faces different problems and unusual solutions for a given instrument, which gives an artist the freedom of interpretation but at the same time creates a challenge related to analysing the piece and searching for a solution for a problem. The sound idiom of the guitar and the harpsichord was the inspiration for the aforementioned composers to create the literature valuable both for artists and for audiences. Unfortunately, this repertoire is hardly ever performed.
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Dahlig, Piotr. "Folklorism as an Invention of the State. Contributions of Polish Ethnomusicologists in Historical Perspective." Musicology Today 15, no. 1 (December 1, 2018): 17–31. http://dx.doi.org/10.2478/muso-2018-0004.
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Abstract Folklorism is presented as a component of culture change. The aim of the article is to show how ethno- and musicologists, folklorists, music teachers, broadcasters, and others, have influenced traditional peasant culture in times of fundamental transformation during the 20th century, and how they have contributed to its documentation, understanding and invention of new meanings, including the Polishness of folklore in Poland. This review aims to exemplify this process. Each European country has its own history in this respect. The text consists of three parts. In the first one, folklore is confronted with social history; the second one is dedicated to generations of ethnomusicologists; the third one is dedicated to contemporary functions of music traditions and the role of ethnomusicologists, with emphasis on applied ethnomusicology. The comments on applied ethnomusicology summarise the author’s experiences acquired during field research in Poland since 1975 and attempt to demonstrate how the past (of traditional culture and music, including re/invented national values) is being transformed in the present or, rather, how history fuses with the present time.
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Ferenc, Anna. "Reclaiming Roslavets: The Troubled Life of a Russian Modernist." Tempo, no. 182 (September 1992): 6–9. http://dx.doi.org/10.1017/s0040298200016661.
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It is evident by now that swift political changes have had an impact on music scholarship in Russia. A radical shift from rejection to appreciation of the music of Russian early 20th-century modernists was announced on the pages of Sovetskaia Muzyka in January, 1991, where the following admission appeared: ‘By silencing the activities of the musicians of the Russian avantgarde for a prolonged period of time, we have in essence artificially narrowed the complex panorama of our music history.’ In the case of Nikolai Andreevich Roslavets, the process of historical revision has included recent publication and re-publication by Muzyka of some of his piano and chamber music. At a time when paper shortage is critical in Russia, such an effort demonstrates a sincere commitment to acknowledging his work. Certainly, another welcome result of this new attitude has been access, though apparently still limited, to the Roslavets archives in Moscow. The valuable information contained therein provides biographical details which finally allow for a substantiated and more definitive statement on the life of this composer who figured so prominently among the Russian modernists.
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Dziadek, Magdalena. "Czechs in Poland in the 19th and 20th Century and Their Influence on the Development of Polish National Music." Musicologica Olomucensia 31, no. 1 (June 11, 2020): 37–49. http://dx.doi.org/10.5507/mo.2020.002.
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DUȚICĂ, Luminița, and Ema-Laura STANCIU. "Sound polychromes in the choral creation of the composer Gheorghe Duțică." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 57–68. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.6.
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Choral cultures begin with the old art of Notre Dame in Paris, continue with the Renaissance, Baroque, Classicism, Romanticism and end with the modern era, where the currents of Impressionism, Expressionism and Neoclassicism are often interwoven, united through the National Schools. An old tradition of Romanian musical culture continues, whose beginnings were marked by the choral, church or secular genre and whose modern foundations were finalized in the inter-war era of the 20th century. Gheorghe Duțică is one of the most representative masters of Romanian music. He has acquired a thorough knowledge of musicology, composition and pedagogy. It should be noted that each work bears the imprint of a strong originality, as well as a mastery worthy of appreciation. The charm of these works is very special, managing to describe with poetic and suggestive images.
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Gąsiorowska, Małgorzata. "The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies." Musicology Today 14, no. 1 (December 1, 2017): 22–36. http://dx.doi.org/10.1515/muso-2017-0001.
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Abstract The present paper surveys the history of the Warsaw Autumn festival focusing on changes in the Festival programming. I discuss the circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between programming policies and the current political situation, which in the early years of the Festival forced organisers to maintain balance between Western and Soviet music as well as the music from the so-called “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on the presentation of 20th-century classics was gradually replaced by an attempt to reflect different tendencies and new phenomena, also those combining music with other arts. Despite changes and adjustments in the programming policy, the central aim of the Festival’s founders – that of presenting contemporary music in all its diversity, without overdue emphasis on any particular trend – has consistently been pursued. The idea of introducing leitmotifs, different for each Festival edition (such as: music involving human voice, mainly electronic, etc.) – is not inconsistent with this general aim since the selected works represent different aesthetics, and the “main theme” is not the only topic of any given edition of the Warsaw Autumn.
Dissertations / Theses on the topic "Music appreciation – Poland – 20th century"
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Hebda, Paul Thomas. "Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331366/.
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This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.
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Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2002.Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
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Kelly, Kenneth Todd. "Chet Baker : a study of his improvisational style, 1952-1959." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1167797.
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The purpose of this study was to identify characteristics of jazz trumpeter Chet Baker's improvisational style, both instrumental and vocal, during the early period of his career (1952-1959). Baker's early years were divided into six periods, based on major milestones: The Charlie Parker Groups (1952-1953), The Gerry Mulligan Quartet and Tentette (1952-1953), The Chet Baker Quartets (1953-1956), The European Groups (1955-1956), Quartets, Quintets, and Sextets (1956-1957), and The Riverside Recordings (1958-1959). Improvised lines and chord changes from fifteen solos were transcribed and analyzed by the researcher; melodies of standard songs were transcribed and compared with the original version. The number of solos selected from each period was based on the length of time Baker spent with each particular group and the number of albums recorded. The solos were analyzed in terms of rhythmic interpretation of melodies, intervals utilized, use of nonharmonic tones, use of jazz cliches, embellishment of the melodic line, use of melodic and rhythmic patterns, range, tone quality, articulation, vibrato, and vocal scat syllables. As a result of this analysis, the researcher was able to draw conclusions concerning Baker's improvisational style during the period of the study.School of Music
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Lee, Chung H. (Chung Haing). "Japanese Elements in the Piano Works of Toru Takemitsu." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332793/.
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Toru Takemitsu's piano works reveal a new scope to the concept of sound in modern piano literature. He achieves originality through his imagination and his Japanese cultural and musical heritage. Subtle Japanese elements, which have been embedded for centuries in Japan's culture and music, lend a unique, but not outwardly Japanese, feeling to this work.
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Yang, Shu-mei. "Piano Music of Native Chinese Composers, with Particular Focus on the Piano Works Since 1950: a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, L.v. Beethoven, S. Prokofiev, F. Chopin, R. Schumann, J. Brahms, M. Ravel, and A. Skryabin." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc331819/.
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This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to utilize Western techniques to create artistic works and compositional styles which are uniquely Chinese. The musical works examined are limited to works for piano solo, as it is believed these are often more immediately revealing of compositional techniques and stylistic idioms.
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Sorensen, Randall J. "Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.
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This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire.School of Music
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Howard, Beverly A. (Beverly Ann). "Texture in Selected Twentieth-Century Program Music for Trumpet and Organ, A Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, J.S. Bach, G. Bohm, N. Degrigny, H. Distler, M. Durufle, J. Guillou, A. Heiller, W.A. Mozart, E. Raxache, M. Reger, L. Vierne." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc330759/.
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This dissertation is concerned with the relationship between the trumpet and organ in twentieth-century music for this ensemble and how that relationship effects performance with regard to organ registration and synchronization. The compositions discussed include "The Other Voices of the Trumpet," by Daniel Pinkham (1971); "Jericho: Battle Music," by William Albright (1976); "Three Pictures of Satan," by Jere Hutcheson (1975); and "Okna," by Petr Eben (1980). The theoretical writings of Pierre Boulez, Robert Erickson, and Donald Cogan deal with developing a contemporary concept of texture. This dissertation applies their theory that texture exists in two dimensions: vertical and horizontal. Stratification and blending of timbres comprise the vertical dimension. The succession of textures, governed by tempo, creates the second dimension. Chapter I provides an historical setting for the genre, introduces the theory of Boulez, Erickson, and Cogan, and supplies the programmatic content of the four works chosen for analysis. In Chapter II , the vertical elements of texture in these four works are isolated and examined. Chapter III deals with Pierre Boulez's theory that the succession of textures, governed by tempo, shapes the work. Each work is examined with regard to tempo, either mobile (fluctuating) or fixed. In Chapter IV the analysis is related to performance. Stratified textures, fused ensemble timbres, and their horizontal progression present problems for the ensemble in organ registration and synchronization. There are general guidelines given for registration as well as specific registration problems encountered in stratified textures and fused ensemble timbres. Synchronization, or coordination of events is the second challenge presented by the horizontal progression of textures.
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Engstrom, Larry M. (Larry Milton). "Contemporary Swedish Music for Solo Trumpet and Trumpet in Mixed Chamber Ensembles with a Performance Analysis of Selected Works of Bo Nilsson, Folke Rabe, and Tommy Zwedberg." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc277573/.
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This study discusses how cultural and social aspects of contemporary Swedish society impact the musical arts. It contains biographical information on representative Swedish composers, and analyzes technical and structural elements of their compositional styles. Finally, it recommends performance practice considerations regarding technical and interpretive details in Tommy Zwedberg's Face the Music for trumpet and prepared audio tape, Folke Habe's Shazam for unaccompanied trumpet, and Bo Nilsson's Infrastruktur for brass quintet.
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Packer, Max 1987. "Latência, ressonância, abertura : um estudo sobre o pensamento composicional de Luciano Berio." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284530.
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Orientador: Silvio Ferraz Mello FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho consiste numa etapa de um estudo dedicado ao pensamento composicional de Luciano Berio (1925-2003) e às maneiras pelas quais este pensamento articula o problema da abertura intrínseca à linguagem musical. Tendo em vista a peculiaridade e a abrangência da noção de abertura no pensamento Berio - que contrasta com outras concepções e converge na revisitação criativa de discursos previamente construídos -, propõe-se, aqui, a investigação analítica de um conjunto de obras de diversos períodos de sua trajetória. As noções de latência e ressonância - consideradas numa amplitude que permeia a poética beriana e manifesta-se em diversos níveis de sua elaboração - delineiam um percurso: a construção de enunciados carregados de potenciais que ainda não se encontram plenamente desenvolvidos (latência); a ampliação e o prolongamento de aspectos estruturais selecionados (ressonância); e o desdobramento de suas relações no interior do processo composicional - seja no percurso de uma mesma obra, seja no processo de uma nova composição que reconfigure estes potenciais - (abertura). Ao longo do trabalho, são abordadas as seguintes obras: Sequenza VII (1969); Erdenklavier (1969); Linea (1973); Chemins IV (1975); Sequenza IX (1980); Lied (1983); Ricorrenze (1985-87); Psy (1989); Leaf (1990); Récit [Chemins VII] (1996-2001)
Abstract: This work consists on a step of a study devoted to the compositional thinking of Luciano Berio (1925-2003) and to the ways in which this thought articulates the problem of the intrinsic openness of musical language. Given the uniqueness and the wide range of the concept of openness in Berio's thought - which contrasts with other conceptions and converges in the creative revisitation of previously constructed musical discourses -, it is proposed here the analytic investigation of a collection of works from various periods of his trajectory. The notions of latency and resonance - considered in an amplitude that pervades Berio's poetics and manifests itself on different levels of its development - outline a path: the construction of statements loaded with potentials which are not yet fully developed (latency), the expansion and continuation of selected structural aspects (resonance), and the unrolling of their relations within the compositional process - whether in the course of a same work, whether in the process of a new composition which reconfigures such potentials - (openness). Throughout this work, we approach the following works: Sequenza VII (1969); Erdenklavier (1969); Linea (1973); Chemins IV (1975); Sequenza IX (1980); Lied (1983); Ricorrenze (1985-87); Psy (1989); Leaf (1990); Récit [Chemins VII] (1996-2001)
Mestrado
Processos Criativos
Mestre em Música
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Ai, Meilin. "An Introduction to Contemporary Characteristics in Twentieth-Century Piano Music for the Late-Intermediate Student: A Pedagogical Analysis of the Bagatelles, Opus 5 by Alexander Tcherepnin." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505185/.
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Alexander Tcherepnin (1899-1977) was a Russian-born American composer, his musical style represents the modern and diverse features of much twentieth-century piano music. The purpose of this research is to conduct a comprehensive pedagogical analysis of Alexander Tcherepnin's Bagatelles, Op. 5 with the goal of introducing contemporary characteristics in twentieth-century piano music for the late-intermediate student. Chapter 2 contains overall biographical information regarding Alexander Tcherepnin and a discussion of the general compositional style of his piano works. Chapter 3 analyzes the Bagatelles, Op. 5 from the perspective of musical challenges concerning the contemporary characteristics, including contemporary harmony: interval of seconds, non-tertian chords, special use of the seventh chords, and ninth chords; contemporary rhythm and meter: shifted accents, asymmetric meter, meter change, and ostinato; modal melodic resources and tonalities; and other special tonalities. Chapter 4 has suggestions on fingering, pedaling, articulation, tone, dynamics and phrasing, and practicing procedures for individual technical difficulties. Studying the Bagatelles, Op. 5 provides a transition for the student from learning standard repertoire of the eighteenth and the nineteenth century, to contemporary repertoire through the combination of Russian compositional traditions with twentieth century repertory.
Books on the topic "Music appreciation – Poland – 20th century"
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Lee, Douglas A. Masterworks of 20th-century music: The modern repertory of the symphony orchestra. New York, NY: Routledge, 2002.
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Whittall, Arnold. Musical composition in the twentieth century. New York: Oxford University Press, 1999.
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Music of the twentieth century: Style and structure. New York: Schirmer Books, 1986.
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Music of the twentieth century: Style and structure. London: Collier Macmillan, 1987.
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Music of the twentieth century: Style and structure. New York: Schirmer Books, 1995.
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Music of the twentieth century: Style and structure. 2nd ed. New York: Schirmer Books, 1996.
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Towards a global music theory: Practical concepts and methods for the analysis of music across human cultures. Burlington, VT: Ashgate, 2012.
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Mark, Ashby Arved, ed. The pleasure of modernist music: Listening, meaning, intention, ideology. Rochester, NY: University of Rochester Press, 2004.
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