Dissertations / Theses on the topic 'Piano accompaniment'

This thesis explores the phenomenon of the piano accompanist in Western art duo chamber ensembles, specifically the solo–accompaniment medium. Following a critical examination of relevant literature by practitioners and researchers where changing socio-cultural attitudes towards accompanists are discussed along with related issues about accompaniment and ensemble playing more broadly, two empirical studies are reported. These enquiries aim to investigate the expectations of contemporary professional soloists and pianists about accompanists as well as to explore the skills and roles exhibited by pianists working in the solo–accompaniment duo context, which have yet to be systematically evaluated. Both studies adopt qualitative methodology with interpretative phenomenological analysis, the first comprising interviews with twenty professional musicians, the second involving case study observation of rehearsals and performances using video recalls with three accompanists and three soloists working in different combinations. The data provided insight into the range of musical and other expectations articulated by professional musicians about piano accompanists as well as the nature of the skills and roles involved in achieving ensemble, interpreting soloists’ intentions, dealing with unexpected incidents, achieving balance and communicating with soloists. A novel conceptual framework about accompaniment practice is constructed based upon the data from the two studies as well as the relevant literature which articulates musico-functional and socio-emotional aspects of accompaniment practice.

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).

This practice-led project investigates the crafting of approaches to solo jazz piano performance. Through a study and application of assimilation techniques derived from a range of different music styles, a series of self-accompaniments were devised. In addition, the process of developing improvisational facility over these accompaniment patterns was documented. Although performing solo requires a different approach to ensemble work, jazz pianists are commonly only trained in ensemble practices, rendering the solo setting a potentially overwhelming challenge. In order to move away from ensemble-based methods, the project sought to develop pianistic techniques and exercises that provide an independent approach in solo performance. Techniques such as ‘splitting’ the pianist’s hands to achieve multiple voices, voice-leading, ostinato, and rhythmic focus were explored as methods to develop independent solo performance. The project follows two trajectories. The first was to develop self-accompaniment patterns for solo jazz piano, an area explored by assimilating techniques outside of the jazz idiom into a solo jazz piano context. These techniques were developed within compositions and arrangements. The second was an examination of the practice processes engaged when performing these techniques, including the development of rhythmic coordination to facilitate improvisation over the composed accompaniment patterns. The outcome is an exploration of different approaches to developing confidence and aptitude in solo jazz piano performance. As well as the creation of accompaniment patterns for solo jazz piano performance, outcomes of this project include a greater descriptive understanding of the process of assimilating performance techniques onto the piano, and developing an improvisational approach over ostinato accompaniment figures. The scores, as well as recorded performances featuring improvisations over the composed accompaniments, are included with the exegesis.

L'horloge de flore (The Flower Clock or Flora's Clock) by Jean Françaix was commissioned by John de Lancie, former principal oboist of the Philadelphia Orchestra in 1957. It was completed in 1959 and premiered by Mr. de Lancie and the Philadelphia Orchestra in 1961. Since that time, it has become a staple of the 20th century oboe concerto repertoire. The current piano reduction of Jean Françaix's L'horloge de Flore consists of the full orchestral score in piano score format. Since it has been only minimally edited, it is an extremely difficult accompaniment for a single pianist. Collaborative pianists must make decisions concerning which pitch material to incorporate into an accompaniment. Many oboists have expressed the need for a revised piano accompaniment to make the piece more accessible to pianists and, thus, enable the concerto to be studied and performed more frequently by oboists. The purpose of this document is to further facilitate performance of this work in a recital setting by both professional and student oboists and to encourage student oboists to study the work by revising the piano reduction. In order to do so, it will be necessary to provide commentary and background on similar oboe works by Jean Françaix, provide a theoretical analysis of L'horloge de Flore, offer performance suggestions of the work for the oboist, clearly discuss transcriptional decisions in the revised piano reduction, and create a practical, two-hand piano accompaniment.

Orientadores: Mauricy Matos Martin, Luiz Ricardo Basso Ballestero
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objetivo deste trabalho é abordar o desenvolvimento técnico-artístico do pianista através do gênero da canção de câmara romântica. Para isso, a metodologia utilizada foi a seleção de parte do repertório de Lied organizada de acordo com as dificuldades técnicas. Durante o trabalho, são sugeridas soluções para as dificuldades apontadas baseadas em princípios da Escola pianística de Dorothy Taubman. Neste trabalho, também são abordadas qualidades e habilidades artísticas baseadas na acepção de Martin Katz. Ao final do trabalho, pôde-se observar que as canções de câmara apresentam diversas dificuldades técnico-artísticas, demonstrando-se que é possível se desenvolver pianisticamente também através de outro repertório que não seja o solístico
Abstract: The objective of this work is to address the pianist's technical-artistic development through the genre of the romantic Lied. For this, the methodology used was the selection of examples from the Lied repertoire organized according to pianistic difficulties. Solutions to the difficulties found are suggested based on principles of Dorothy Taubman's Approach. In this work, artistic qualities and abilities demanded from the pianists are discussed using the writings of Martin Katz. As a conclusion, it was observed that the songs have various technical and artistic difficulties, thus, demonstrating that it is possible to develop as a pianist through other than the solo repertoire
Mestrado
Praticas Interpretativas
Mestra em Música

Orientador: Antonio Rafael Carvalho dos Santos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação tem por propósito investigar os elementos constituintes da elaboração do acompanhamento pianístico na música popular brasileira na segunda metade do século XX, através de análises de entrevistas e de peças de piano e voz, transcritas de gravações feitas pela cantora Leny Andrade com os pianistas César Camargo Mariano, Cristóvão Bastos e com Gilson Peranzzeta. Partindo do próprio conceito de acompanhamento, de sua definição e exemplificação no cenário musical, esta pesquisa procura mostrar também seus desdobramentos no mercado de trabalho ¿ como a definição e atuação do termo ideman nos dias de hoje. Aspectos comportamentais são também analisados aqui e colocados frente à prática do acompanhamento pianístico e de seus praticantes, na medida em que todos acionam processos simultâneos de influência e respeito mútuos. Dessa forma, as conclusões desta pesquisa servirão para descrever de maneira mais detalhada e minuciosa todo o processo que envolve essa atividade musical, tão interiorizada1 para muitos que a praticam e, ao mesmo tempo, tão superficialmente compreendida por outros que tentam praticá-la
Abstract: The main purpose of the present dissertation is to investigate the elements that constitute the development of pianistic accompaniment in Brazilian popular music in the second half of the twentieth century. This will be carried out through the analysis of interviews and pieces for piano and voice, transcribed from recordings made by female singer Leny Andrade with pianists César Camargo Mariano, Cristóvão Bastos, and Gilson Peranzzeta. Based on the concept of accompaniment and its definition and exemplification in the music scene, this study aims also to show its extensions in the labor market ¿ like the definition for the term ¿sideman¿ and the sideman¿s present role. Behavioral aspects are also analyzed and applied to the practice of pianistic accompaniment and its performers, as all carry out simultaneous processes of mutual influence and respect. Therefore, the conclusions drawn from this study will help describe in more detail and more thoroughly the whole process envolved in this musical pursuit, which for many performers is so internalized, albeit so superficially understood by others who attempt to accomplish it
Mestrado
Fundamentos Teoricos
Mestre em Música

This study explores text and music relations in Canadian composer Violet Archer’s “The Twenty-Third Psalm” by analysing the text of Psalm 23, Fibonacci numbers, melodic contours, motives, and the role of the accompaniment. The text focuses on David’s faith in God and his acceptance of God as his shepherd on earth. The four other approaches allow us to examine the work on three different structural levels: background through Fibonacci numbers, middleground through melodic contour analysis, and foreground through motivic analysis and the role of the accompaniment. The measure numbers that align with Fibonacci numbers overlap with some of the melodic contour phrases, which are demarcated by rests, as well as with the most important moments at the surface level, such as the emphasis on the word “death” through recurring and symbolic motives. The piano accompaniment further supports these moments in the text.

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

Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The study centered on the four composers' compositional techniques, and the relationship between the voices or strings to the piano was identified. It also revealed the technical demands placed on the pianist. Each partsong or chamber work movement was first briefly analyzed and then suggestions to the pianist/ensemble were made, which were based on the analysis, and that intended to draw the pianist's attention to the most relevant concerns that he will face while preparing this music. The works that I included in this study are from the first period of American history in which American composers wrote significant pieces of art music. The compositions from this turning point in American history reveal a fascinating mix between German Romantic, Modernist, and "American" elements. I found both the partsongs and chamber pieces to be worthy of study, and the large body of works of these four composers, in my opinion, deserves greater exposure.The piano writing, in both their partsongs and chamber works, is quite accomplished and reveals just how gifted these four composers were as pianists. The varied piano textures and the technical demands for the pianist create challenging, yet enjoyable interesting, piano parts, which serve both the partsongs and chamber pieces very well. The piano writing of these four composers' chamber pieces is more complex than that of their partsongs, but both genres contain effective piano parts. Contemporary audiences of classical music would find the piano writing of these works (not to mention the works in their entirety) to be very worthwhile.
School of Music

碩士
國立臺灣大學
電信工程學研究所
97
In this thesis, a system ICYS (Interactively Comp Your Solo) that can accompany a jazz soloist as a jazz pianist is proposed. The learning scheme of the system is sample based. Under the concept of “divide and conquer”, the accompaniment procedure is divided into two independent paths, rhythmic and melody-harmonic accompanying. To accomplish real-time accompanying of the coming solo sequences, each of the two paths begins with analysis and prediction. Considering the different features of the data, several methods, like neural network and edit distance, are applied in predicting. After the prediction process, the next issue is to rhythmically and harmonically accompany according to the prediction results. At the end of this thesis, the audience feedback and evaluation of experts will be shown and discussed.

碩士
國立交通大學
電機工程學系
105
In recent years, the low-priced MIDI piano has become one of the most popular musical instruments. MIDI music applications have ranged from simple entertainment to an interactive support system for self-learners at the beginning stage. This study aims at developing automatic accompaniment that achieves synchronization by adapting to the player's performance as a human accompanist would. Our system design can be divided into three sub-problems: score following, tempo estimation and accompaniment generation. To estimate the most probable score position, a hidden Markov model is used as a performance model which follows the score being played in the performance MIDI. To estimate the tempo, we began by extracting MIDI-based parameters concerning onset-time and tempo. Based on their differences, we apply simple moving average to predict the next onset-time of the major melody and accompaniment. Computer experiments on three practice songs demonstrate the effectiveness of the proposed method with an error rate of 3.58% in score following and a deviation of 238 ms in tempo estimation.

碩士
國立交通大學
音樂研究所
94
“Can you listen” is a three movement trombone concert piece with piano accompaniment . The composer dedicates this piece to her father who has passed away. The music presents the mental situation of the composer from the day of her father’s illness, and she hopes that her father and all the audiences can feel the emotion in this piece. Therefore , she uses “Can you listen” as the title of this piece. This statement is divided into five parts : the foreword states the background of the composition ; the second paragraph states the motive and the thought of the composition ; the third paragraph describes how the composer decided the materials to write a trombone concert piece properly ; the forth paragraph shows the connection between the composer and the performer ; and the last paragraph is the thought of composition as a conclusion.

碩士
國立高雄師範大學
表演藝術碩士學位學程
107
Abstract The subjects of this study included grades 10-6 music learners of accompaniment and melody variation in the Yamaha Grade Examination. This study investigated how instructors, with the instruction of accompaniment and melody variation as well as the use of examination materials and teaching methods, trained their students to take the grade examination and employ the skills flexibly in the piano performance. In doing so, piano playing not only serves as the playing of classical piano pieces but also stimulates learners’ imagination in music, and thus enables learners to develop basic improvisatory abilities. This paper is a narrative study, exploring the design of teaching materials and teaching methods. The data were collected from in-depth interviews with instructors and analyzed in detail. A total of ten instructors participated in the study, including 5 Yamaha piano instructors and 5 KHS piano instructors. Based on qualitative data analysis, the resercher further discussed and generalized the findings of the study: ① Improvisation with the Latest Version of the Piano and Chen Hongxin’s Hands with Accompaniment Practice the two books were adopted as the teaching materials for grade 10-8 piano exam of accompaniment. Reasons for the selection are that these two books consist of the termination and inversed chords, the specified scope of the exam, and the books are arranged based on the key signature. In addition, most of the exercises are familiar nursery rhymes, world famous music, and melodies in which learners can easily identify the correct chord progression. As for grade 7-6, Practice with Lu Xiang’s Melody and Harmony and 7-6 Grade Piano Performance Test List were adopted. Both books are organized in order of the number of sharps and flats, from few to many; moreover, the seconday dominant chords of each key are sorted, which makes it easy for learners to practice. Learners can also refer to the exercises of accompaniment types and melody variation examples. Piano Performance Test List was adopted because it has a collection of previous Yamaha Grade Exams. ② In the teaching methods: Based on the interviews, the two groups of instructors have the same teaching methods of accompaniment. In the melody variation training, singing and listening to melody variation are quite essential for learners to feel whether the melody is compatible with chords. To determine the correct chord configuration, learners have to analyze the melody composition. ③ Accompaniment and melody variation in Yamaha Piano Examination can help boost learners’ perception of tonality, which is beneficial for their future teaching courses in junior high or elementary schools, their performance of pop music, jazz piano and church hymns playing.

AFRIKAANS: Gebore en getoeë in 'n omgewing waar die besondere uitdagings grondliggend aan die musikale kunsvorm van begeleiding nie erken is nie, maar eerder as 'n vanselfsprekendheid by pianiste gereken is, het 'n toenemende behoefte aan toepaslike leiding en opleiding die teelaarde vir die tersaaklike studie gevorm. Aansluitend hierby is mettertyd bevind dat die klimaat in Suid-Afrika in die reël van sodanige aard was dat begeleiding as onafhanklike en selfstandige beroepskeuse selde waardig genoeg geag is om beroepsgerigte onderwys en gespesialiseerde opleiding in die veld te regverdig. Daarom is die aanvangsondersoek van hierdie studie primêr geloods as 'n kritiese beskouiing van die funksionaliteit van die teenwoordige opset van begeleieropleiding in Suid Afrika. Meer spesifiek behels die genoemde aanvangsondersoek 'n indringende ondersoek na die toelatingsvereistes vir ensemble-gerigte kursusse, soos vervat in die sillabusse van 'n geselekteerde aantal sekondêre en tersiêre instansies landwyd. Voorts is die vak-inhoudelike sowel as moontlike blootstellingsgeleenthede aan ensemble-aktiwiteite onder die loep geneem. Die resultate in hierdie verband was teleurstellend en is die fokus verskuif na die samestelling van 'n vraelys as inligting-insamelingsinstrument. Die oogmerk van genoemde vraelys was hoofsaaklik die inwinning van persoonlike opleidingservaringe van die betrokke proefpersone sowel as 'n toekomsvisie rakende die opleiding van begeleiers-van-môre. Hoewel die opname-respons laag was, het waardevolle inligting die groeiende dringende behoefte aan sinvolle rigtinggewing in die toepaslike veld onderstreep. Die soekende openbare krag van die tweesnydende swaard is vervolgens immer dieper in die wese van die begeleier ingedring. 'n Geriefsteekproef erkende begeleiers is vir onderhoude genader. In die proses is gepoog om enersyds waarlik op hoogte te kom van hul siening met betrekking tot die samestelling van en vereistes vir 'n voornemende beroepsbegeleier tot op hede. Andersyds is gefokus op die persoonlike voorkeure rondom 'n beroepskeuse in die begeleidingsveld en 'n eiesoortige inkyk in hul beroepsbelewenis te kry. Weer eens is groot klem geplaas op hul siening van die opleiding van toekomstige begeleiers. Verblydende terugvoer is deurgaans ontvang. Die opregte ywer en toegewyde entoesiastiese betrokkenheid van die spesialiste in die tersaaklike veld verdien besondere vermelding. So ook hul besef van die reuse taak tot verantwoordelike vorming van gewillige studente in die rypingsproses tot musikaal-sinvolle uitvoerders wie se interpretasie en toepassing van stylbegrip die musiseringsvlak in samespel situasies aanmerklik kan verryk en verfraai. Ten slotte is al die voorafgaande inligting oor die funksionele opleiding van begeleiers tot op hede afgewissel met 'n verfrissende blik op die moontlike prag van ‘n ideaIe werklikheidsituasie. Voortvloeiend hieruit is die Iigpunte in die Suid-Afrikaanse bestel saamgetrek om aanvullend daartoe bepaalde aanpassings voor te stel en vars idees daaraan toe te voeg. Kortliks behels die genoemde voorstellle 'n ontvanklike en eerlike kyk na die verlede, om daaruit te kan leer; 'n kritiese beoordeling van die hede, om daaruit te kan groei, en 'n uitsig op die komende tyd, om daarin die oopblom van geleenthede, die vorming deur ervaringe en die heerlike geur van ware toonkunstenaarskap te mag ontmoet. ENGLISH: In an environment where the particular challenges inherent to the musical art form of accompaniment have never been acknowledged, but rather naturally attributed to pianists, a growing need of well-directed guidance and training has given rise to the study concerned. In the course of the study it gradually came to light that the general climate in South Africa has seldom allowed accompaniment to be viewed as an independent and autonomous career choice worthy of career-orientated, specialized training. Accordingly, this study was initially launched as a critical evaluation of the functionality of the present situation involving the training of accompanists in South Africa. More specifically, the initial investigation concerned an incisive analysis of the entrance requirements pertaining to ensemble-directed courses, as contained in the sillabi of selected secondary and tertiary institutions from all over South Africa. Furthermore, the subject content as well as potential opportunities of exposure to ensemble activities was scrutinized. Since the results revealed a disappointing situation, a questionnaire was compiled in order to gather information. This questionnaire was mainly meant to capture the respondents' personal experiences regarding training, as well as their views on the future training of accompanists. Although the response was low, valuable information came to the fore, emphasizing the growing and urgent need of meaningful direction in the field concerned. The searching blade of the double-edged sword was now driven into the very being of the accompanist. A convenience sample of acknowledged accompanists was interviewed. On the one hand a serious attempt was made to gauge their current views regarding the composition and required characteristics of an accompanist-to-be. On the other hand, the focus fell on their personal preferences regarding a career choice in the field of accompaniment and on the particular way they experienced their careers. Once again, special attention was paid to their vision of the training of future (career-oriented) accompanists. On the whole, the feedback was gladdening. The sincere devotion and enthusiastic involvement of these specialists in the field must be specially mentioned. The same applies to their awareness of the mammoth responsibility resting on their shoulders, namely that of helping willing students mature until they are able to execute works of music in a meaningful way, interpreting and applying their understanding of style in a manner which enhances their musical interaction with others. Finally, the preceding information concerning the current state of the functional training of accompanists is enlivened by an invigorating vision of an ideal situation. The rays of light within the South African context are drawn together in order to facilitate the suggestion of certain adjustments and fresh ideas. In short, these suggestions involve an open-minded and honest view of the past, in order to learn from it; a critical evaluation of the present, in order to facilitate new growth; and a vision of the future, in order to recognize the flowering possibilities, the shaping of experiences and the delicate fragrance of true musicianship.
Dissertation (MMus(Chamber Music))--University of Pretoria, 2007.
Music
unrestricted

Treatise (D.M.A.) Florida State University, 2006.
Advisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 60 pages. Includes biographical sketch. Includes bibliographical references.

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

Treatise (D.M.A.) Florida State University, 2006.
Advisor: Evan Jones, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-3-07). Document formatted into pages; contains 361 pages. Includes biographical sketch. Includes bibliographical references.

碩士
國立臺南藝術大學
鋼琴伴奏合作藝術研究所
98
Three hundred years after the Baroque composer Henry Purcell, Benjamin Britten was the first composer in England focusing on operas, oratorios, and vocal works. During his lifetime, he had completed 12 song cycles. Even though song cycle is a new genre in German music history during the Romantic Period, Britten showed the unique taste in his works by means of comtemparary composing technique of his time. The earlier song cycles were completed before 1945, including Our Hunting Father, op. 8 (1936), On this Island, op. 11 (1937), and Les Illuminations, op. 18 (1939), etc. This essay will focus on Les Illuminations, which was originally written for a solo voice and a string orchestra, but was later on revised for a solo voice with piano accompaniment. Here, I am going to compare the two different versions of accompaniment, in order to interpret the orchestral acoustics through the piano. The essay will start out from Britten’s life and his composing style; probing into the text and music in chapter 2; furthermore, to analyze every piece, to compare the interpretations between the two versions of chamber orchestra and piano, and to discuss how to present the acoustics of an orchestra on the piano.

"The purpose of this dissertation is to explore the phenomenon flow during collaborative performance as a piano accompanist ... The research design for this study uses autoethnography, an autobiographical genre that connects with personal to the cultural, social and political and, by writing in the first person, allows me to reflect on the experience of flow from an intimate view-point."--Abstract.

The Southern Baptist Convention's Music Department and state associations, with their vast influence yet often modest resources, educated generations of pianists and organists in the arts of accompanying and service playing. Chapter 1 examines the genesis of this education movement, beginning with B. B. McKinney's interest through the Southern Baptist Convention's Music and Worship committee. Chapters 2 and 3 contain an overview of previous studies and the materials of other protestant American denominations and Baptists used to train keyboard musicians. These include Lutheran, Nazarene, Methodist, and independent Baptist. Chapter 4 covers the results of the work of the Music and Worship Committee to the establishment of the Music Week at Ridgecrest, a Southern Baptist retreat, the formation of the Church Music Department and Music Week's expansion to Glorieta, another Southern Baptist retreat, and the decision to begin

Tese editada
Este trabalho tem como principal objetivo proporcionar aos pianistas acompanhadores um suporte pedagógico e satisfazer a procura de renovação de um repertório tradicional das aulas de Técnica de Dança Clássica Para tanto, foram selecionadas obras das vertentes erudita e popular da música brasileira. Essas obras e excertos detêm um conjunto de características musicais que revelam a lógica do movimento tendo como base os exercícios da Técnica de Dança Clássica. A fim de uma contextualização histórica e estilística dos excertos de música selecionados para o suporte didático/coletânea, introduziu-se uma breve revisão de momentos da História da Música Brasileira. Esta revisão foi completada pela representação de alguns dados mais relevantes da vida e obra dos compositores, assim como pela realização de algumas entrevistas a intérpretes que mais marcaram as obras escolhidas. A coletânea foi elaborada de acordo com a estrutura e as normas didáticas da aula de Técnica de Dança Clássica, revistas no decorrer do trabalho. A fundamentação de vários aspetos didáticos baseou-se no meu percurso profissional e na análise dos recursos disponíveis, tais como coletâneas e manuais. Desta forma espero que a elaboração da presente coletânea atinja dois objetivos: servir de orientação a pianistas em início de carreira e sugerirr um repertório alternativo a todos que o procuram.
The main goal of this work is to provide pianists a pedagogical support and to accomplish the demands for a renewal of the traditional repertoire of ballet technique classes. Several musical pieces from classical to popular strands of Brazilian music were selected for this purpose. The referred pieces and excerpts hold a set of melodic and harmonic features which unveil the logical of the movement based on the technical ballet class exercises. A brief review of some moments of the Brazilian music history was introduced to contextualize, both historically and stylistically, the music excerpts that were selected for educational/collection support. This review was also accomplished through the representation of some of the most relevant data from the life and work of the composers, as well as through interviews to the interpreters who have contributed the most to the chosen pieces. The collection was prepared in agreement with the structure and didactics standards of the technical ballet class, which were reviewed during the completion of this work. The fundamentals of several didactic aspects were based on my professional career and on the analysis of the available resources, such as collections and handbooks.