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1
Lipke-Perry, Tracy Donna. "Integrating Piano Technique, Physiology, and Motor Learning: Strategies for Performing the Chopin Etudes." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193854.
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Chopin's twenty-seven études are both unique and standard within the genre of advanced piano literature. Having been composed as the instrument itself was standardized and on the heels of the didactic studies of the classical period, Chopin's études are widely heralded as exemplary pedagogical material for their uniform quality and comprehensiveness. Nevertheless, despite the vast number of resources devoted to the topic of how one might approach the études and the innumerable endorsements which tout their incomparable worth, relatively cursory mention is made of their musical value. From a physiological perspective, what makes Chopin's études exceptional amongst vast pedagogical repertory, and how does their musical value impact what pianists learn from their study?From a modern perspective, a musical image is both the model and the yardstick for the measure of technical achievement as one compares performance with his or her musical image. The Chopin études are therefore unique in two ways. First, a pianist's musical image of each of the Chopin études initiates an individual process of motor learning. The musical images, and therefore the goals and the processes, are inherently different from the vast majority of purely didactic studies and exercises. Secondly, the genius of Chopin permeates the overall conception of the études as he intuitively employed the human ability to develop motor skills in natural ways which continue to be understood and supported by ongoing research.This paper explores the Chopin études from a largely physiological and psychological perspective such that modern studies of mental imagery, skill acquisition, and human motor abilities converge and highlight what is readily available in the music itself.
2
Kang, Eun Young. "Late Twentieth-Century Piano Concert Etudes: A Style Study." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169360.
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Lee, Grace E. "Pedagogy and Artistry in Select Twentieth-Century Piano Etudes." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595845987466583.
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Simms, Beverley. "The Solo Piano Works of John Corigliano: Etude Fantasy (1976) and Fantasia on an Ostinato (1985)." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332224/.
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John Corigliano (b. 1938) is a contemporary American composer who has in the last twenty years established himself as a composer whose versatility and accessibility are appreciated by a wide range of audiences. He has labeled himself an eclectic composer who unashamedly borrows from other musical styles and periods in an effort to create works that appeal to a variety of listeners. He has been mentioned along with George Rochberg, George Crumb, and Jacob Druckman as an advocate of the post-modern movement in contemporary American music, a trend that has been crucial to the development of contemporary concert music. The purpose of this study is to examine the two solo piano works of Corigliano in terms of style, structure, and musical influences. The Etude Fani-agy (197 6) is a set of five etudes, performed without pause. The etudes are unified through an elaborate use of thematic transformation in which a row-like idea generates most of the material. The keyboard writing is varied and dramatic, with similarities to Debussy, Bartok, Prokofiev, and Copland. Fantasia on an Qstinato (1985), commissioned for the van Cliburn International Piano Competition, is an atmospheric tone poem that transforms the theme from Beethoven's Symphony no« 7 (second movement) . The rhythmic and harmonic structure of this theme are retained through much of Corigliano's work. Full quotations and fragments of the symphony are combined with newly-composed material influenced by Beethoven's theme. Influence of minimalist techniques associated with Terry Riley, Steve Reich, and Philip Glass is apparent throughout the work; rhythmic phasing, repetitive patterns, and musical stasis are used extensively in the second section. A comparison of the Etude Fantasy and Fantasia nn an OstinatQ confirms the eclectic characteristics of Corigliano's style. In both works, the composer borrows freely from a variety of musical traditions, combining and modifying traditional and avant-garde techniques. It is this intelligent combination of elements, along with expert craftsmanship, that has become Corigliano's trademark and have earned him an important place in contemporary American music.
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Keil, Andrea Marie. "The Dawn of Modern Piano Pedaling: Early Twentieth-Century Piano Pedaling Literature and Techniques." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503747.
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Kim, Woo ri. "A Comparative Study of the Etude Genre in Chopin and Debussy: Technical Application and Pedagogical Approach." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1399624188.
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Ueda, Yasushi. "Pierre-Joseph-Guillaume Zimmerman (1785-1853) : l’homme, le pédagogue, le musicien." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040204.
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Fils d’un facteur de piano, Pierre Joseph Guillaume Zimmerman (1785-1853), virtuose, pédagogue, compositeur et homme du monde, trouve sa place au sein d’une pléiade de promoteurs du piano et de la littérature pianistique. Son originalité réside dans la dualité que l’on distingue entre, d’une part, sa conscience de compositeur académique héritée de Cherubini et, d’autre part, cet esprit novateur que lui inspira la modernisation de la facture instrumentale dont il suivit et entérina l’évolution. Cette thèse se veut la première monographie qui envisage les activités nombreuses et variées dans lesquelles le musicien s’illustra aux différentes époques de sa vie. La première partie traite de ses origines et de l’époque d’avant 1831. Nous nous intéressons à ses études au Conservatoire, à sa première carrière pédagogique, à ses mariages, à ses œuvres classiques pianistiques (la Sonate op. 5 et les deux concertos) et à ses deux opéras. La deuxième partie porte sur la période de 1831 à 1845. Nous parlons des lauréats sortis de sa classe qui se multiplient à l’époque, de sa méthode Encyclopédie du pianiste compositeur qui favorise le genre des études, ainsi que des soirées musicales qu’il organise dans son appartement du Square d’Orléans. La troisième partie étudie la période post-Cherubini, de 1842 à 1853. Nous y abordons sa contribution à l’organisation de l’Association des artistes musiciens, ses deux messes, ses dernières années comme professeur au Conservatoire, ainsi que l’époque postérieure à sa retraite en 1848. Le second volume d’annexes complète cette étude en présentant un arbre généalogique, les portraits et les états civils des Zimmerman, ses lettres et d’autres documents<br>Born as the eldest son of a piano manufacturer, Pierre Joseph Guillaume Zimmerman (1785-1853) was one of the piano promoters in the first half of the nineteenth century, this can clearly be seen from his activities as a piano virtuoso, educator, composer and socialite. His unique role consisted of his dual occupation as a successor to Cherubini in academic composition, and also his role as a passionate supporter of the modernization of the piano. This thesis is a monographic study of Zimmermann, and explores the multiple aspects of the activities in which the musician became famous for in different periods of his life. In the first part, I discuss his origins and his life before 1831. I discuss his studies at the Conservatoire, his first pedagogical contributions, his marriages, his classical piano works (Sonata op.5 and two concertos) and two operas. The second part covers the period from 1831 to 1842. I consider the increase in the number of students from his class who became winners of the annual piano competition, his method Encyclopédie du pianiste compositeur – which favours the études as a genre – and the salon concerts that he organized at his apartment in the Square d’Orléans. The third and final part relates to the post-Cherubini period from 1842 to 1853 in which I focus on his contribution to the organization of the Association des artistes musiciens, his two masses, his last years as a professor of Conservatoire, and the life after his retirement in 1848. The information provided in the second volume of annexes also highly complement this study by presenting a family tree, his portraits, civil registers of the Zimmermans, his letters and the other documents
8
Yeh, I.-Chen. "The Piano Etudes of David Rakowski." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1288402170.
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Chen, Yung-jen. "Analysis and performance aspects of GYÖRGY LIGETI'S ÉTUDES pour piano: fanfares and arc-en-ciel." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1167697657.
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Cheng, shu ching. "THE INTERDEPENDENCE OF MOVEMENT AND SOUND IN ALL ASPECTS OF PIANO TECHNIQUE IN FALKO STEINBACH'S "FIGURES" - 17 CHOREOGRAPHIC ETUDES FOR PIANO (2006)." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195471.
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The piano etude is a musical genre that has evolved since the 18th century from a work composed to develop technique into a full-fledged concert piece. The genre has continued to pose a challenge for the composer who attempts to combine the utility of a technical exercise with musical invention equivalent to other genres in the concert repertoire.Falko Steinbach composed his first set of piano etudes, entitled "Figures," 17 Choreographic Etudes, in 2006. This major work is comprised of 17 pieces, which explore all the physical components of successful pianism. These components are outlined in his book A Compendium on Piano Technique. The book also explores psychological disciplines, which can assist the pianist in overcoming technical difficulties, both in practice and performance.This document will consist of an analysis of both "Figures" and A Compendium. It will address the issue of "Figures" as both a didactic work and a work of art in the tradition of the Chopin etudes. It will also discuss how Steinbach synthesizes aspects of both physiological and mental learning disciplines to create a technical approach to the piano that directly impacts both sound and movement.
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Clavere, Javier. "A Study Guide to Franz Liszt's Grandes etudes de Paganini S.141." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1296847312.
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Lee, Kuo-Ying. "An Examination of Innovations in Alexander Scriabin’s Late Etudes for Piano." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407854/.
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Alexander Scriabin (1872-1915) stands as one of the most unconventional twentieth-century Russian composers, particularly with respect to his piano works. The overwhelming majority of Scriabin's compositions—sixty-seven of his seventy-four published works—were written for solo piano. His etudes from 1905 forward are revolutionary, especially compared with his earlier Chopinesque style. Among Scriabin’s twenty-six etudes, his Op.49, No. 1 (1905), Op.56, No. 4 (1908) and the last three etudes of Op.65 (1912) date from his last period of composition. In the Op.49 etude, Scriabin started to abandon traditional tonality. He omitted the key signature altogether in the Op.56 etude. The final three etudes of Op.65 feature constant dissonances on ninths, sevenths and fifths. Alexander Scriabin’s last five etudes represent the culmination of his compositional development and innovations at the piano. Several factors coalesce in these etudes, including unusual harmony, bichords, non-tonal hierarchy, and structural symmetry. Most of these factors derive in some fashion from Scriabin’s increasing reliance upon the so-called “mystic chord” in his late works. This study will illustrate how Scriabin explored new sonorous and aesthetic ideas in his late etudes by means of these innovations.
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Calkin, Joshua Russell. "The singing tuba : art songs transcribed for tuba and piano as beginning lyrical etudes." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1434.
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Radiushina, Marina. "A Performer's Perspective on the Technical Challenges and Interpretive Aspects of Sergei Rachmaninoff's Etudes-Tableaux Opus 39." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/202.
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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.
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Jang, Miyoun. "A Comparative Study of Piano Etudes by György Sandor Ligeti and Unsuk Chin: A Technical and Stylistic Guide to Mastering the Difficulties of Their Etudes." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404627/.
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Unsuk Chin (b.1961), a Korean-born woman composer, was a student of Gyorgy Sandor Ligeti (1923-2006). Chin's work reflects the influence of Ligeti but also undeniably has its own style. This study investigates the six piano etudes so far published from 12 Piano Etudes (1995-2003) by Unsuk Chin and compares them with Ligeti's piano etudes to highlight the influence of the teacher on the student and to aid pianists in facing the unique technical challenges posed by both sets of etudes. The practice guide provided in this study for each specific technical difficulty requires a degree of patience from a student which, if followed, will enhance the performance.
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Miranda, Clayton Juliano Rodrigues. "The Inception of Trumpet Performance in Brazil and Four Selected Solos for Trumpet and Piano, Including Modern Performance Editions: Fantasia for Trumpet (1854) by Henrique Alves de Mesquita (1830-1906); Vocalise-Etude (1929) by Heitor Villa-Lobos (1887-1959); Invocation and Point (1968) by Osvalda." Diss., North Dakota State University, 2016. https://hdl.handle.net/10365/28032.
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This disquisition provides a modern performance edition of four Brazilian compositions
for trumpet and piano by Henrique Alves de Mesquita? (1830?1906) Fantasia para Piston
[Fantasy for trumpet, 1854], Heitor Villa-Lobos?s (1887?1959) Vocalise-Estudo [Vocalise-etude,
1929], Invoca??o e Ponto [Invocation and point] by Osvaldo Costa de Lacerda (1927-2011), and
Edmundo Villani-Cortes?s (b. 1930) Concerto for Trumpet and Piano (2004). I include a
biography of all of the composers, a descriptive analysis of the compositions, and tables of
critical notes regarding the editions. This study also provides a historical account of trumpet in
Brazil to contextualize these four compositions and their composers. By doing so, I make
available to the international trumpet community a new and exciting addition to trumpet
literature and raise awareness about the existence and quality of Brazilian music that is still
largely unknown.
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Pisano, Paul W. "Ursatz, Grundgestalt, and Hyperdissonance: Post-Kuchkist Compound Syntax in Rachmaninoff Etudes-Tableaux, Op. 39, Nos. 1-3." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404385.
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Lee, Ji Sun. "Revolutionary etudes: The expansion of piano technique exploited in the Twelve New Etudes of William Bolcom." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280375.
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The first etudes, written in the seventeenth century, were study pieces created for the development of a particular aspect of performing technique. Chopin and Liszt are acknowledged to be the major figures in the later development of the concert etude. These contain not only the expected studies of various matters of technique but also deal with musicianship, including cantabile playing and the projection of the composer's poetic intentions. William Bolcom's Twelve New Etudes, like those of Chopin, are studies in style synthesis as well as in pianism. The uniqueness of these two composers' etudes consist in combining the technical innovations of their contemporaries and mixing their "classical" style with lighter elements, including programmatic ideas and bel canto style. This document will consist of a discussion of twentieth-century piano techniques utilized in each of Bolcom's Twelve New Etudes and also a discussion of how these techniques and compositional styles enhance the poetic quality of these works. This will be preceded by a brief history of the development of the concert etude, a discussion of the Chopin Etudes and the poetic elements of Debussy's Preludes , and other important influences on Bolcom's works. In addition, some parallels and contrasts will be drawn between the Bolcom etudes and those of Chopin.
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Wang, Chien-Wei. "Examples of Extended Techniques in Twentieth-Century Piano Etudes by Selected Pianist-Composers." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/378.
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This essay illustrates the principal technical and compositional innovations in the piano literature of the twentieth century, through an examination of the piano etudes written by the period's most accomplished pianist-composers. The etude is generally regarded as one of the most common musical forms designed to provide pianists with practice material for perfecting a particular technical skill. The most influential composer who established the norm for the composition of piano etudes and raised their suitability as concert works was Frederic Chopin. Piano etudes, however, gradually shifted as compositional vehicles in the twentieth century. Composers began to discard the harmonic language of traditional theory by employing more irregular and atonal materials, which gradually replaced the standard figurations of nineteenth-century composition. The author addresses works based on traditional technical idioms such as intervals (double thirds, fourths, fifths, and octaves), scales, arpeggios, chords, repeated notes and finger independence in Chapter Four. In Chapter Five, works containing modern types of notation and unusual technical requirements are examined. The format for these chapters is as follows: general comments on the complete work, compositional description of each individual piece and finally, performance remarks. This essay is limited to piano etudes written by composers who are also generally regarded as accomplished pianists. The composers discussed in this essay are Claude Debussy, Alexander Scriabin, Bela Bartók, Olivier Messiaen, Geörgy Ligeti, Louise Talma, and William Bolcom. In addittion, this essay collects and examines piano etudes that are considered suitable for both study and concert programming, a criterion that narrows the etude selection examined in this essay to works that have been recorded and performed in public.
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Isgitt, David. "An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3245/.
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The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.
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Hansen, Jeremy Christian. "A creative pedagogical approach to Hindemith's music for horn and piano with thirty progressive etudes." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/241.
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Collegiate students of horn routinely prepare works for horn and piano from many diverse styles and periods. Many of these pieces are written with materials that extend beyond common practice tonality. Unfortunately most study materials are written in a highly tonal language and date to the Romantic or late Romantic periods. Further, almost all studies written in a modern style are advanced and not progressive in difficulty. As a result of the lack of progressive post-tonal study materials, students are rarely prepared for post-tonal solo works. The traits that mark these pieces as modern pose particular difficulties for tonally-trained students. This thesis, intended for the collegiate instructor of horn, illustrates a method for addressing this disparity, using The Sonata for E-flat Alto Horn and Piano by Paul Hindemith as an example. Hindemith's musical theories are examined and applied to the analysis of harmony, melody, rhythm, form, and performance aspects of the piece. Challenges to the tonally-trained student are identified and pedagogical strategies are given to overcome these challenges. This demonstrates how the collegiate instructor can construct patterns and exercises of varying degrees of difficulty to prepare a student for a work such Hindemith's Sonata for E-flat Alto Horn and Piano. Thirty original and progressive etudes in the style of Hindemith's music for horn and piano are included.
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Petrella, Diane Helfers. "The Tone Clock: Peter Schat's System and an Application to His Etudes for Piano and Orchestra, Opus 39." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc5517/.
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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.
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Hu, Yingzhou. "Variations Op. 41 and Etudes Op. 67 by Nikolai Kapustin: Historical Background, Stylistic Influences, and Performance Approaches." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1610037557641902.
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Kumamoto, Yuki. "Soviet Music as Bricolage: The Case of the Piano Works of Nikolai Rakov (1908-1990)." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703341/.
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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.
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Park, Hyuna. "A Performance Guide of Cecile Chaminade’s Early Piano Works:Piano Sonata Op. 21, Six Etudes de Concert Op. 35, and Concertstuck Op. 40." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1562923290461938.
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Bernnat, Andreas. "Grundlagen der Formbildung bei Claude Debussy : ein analystisches Modell für die Klavierwerke von "Pour le piano" bis zu den "Etudes /." Tutzing : H. Schneider, 2003. http://catalogue.bnf.fr/ark:/12148/cb390915948.
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music." 2003. http://hdl.handle.net/1959.13/24961.
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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.<br>Masters Thesis
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Chen, Chih-Wan, and 陳稚婉. "Research of Debussy《Douze Etude》/ Chih-Wan Chen Graduation Piano Recital." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/65c987.
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碩士<br>東吳大學<br>音樂學系<br>91<br>Debussy was deliberately seeking to purify his style. He considered the《Douze Etudes》to be a continuation of French keyboard tradition established by Rameau and Couperin. His Etudes are a microcosm of his piano style. Through research, Debussy manipulates different technical devices in new harmonic and structural environments. The development of piano technique is not the primary goal of Debussy’s Etudes and present novel and unique compositional style.
Chopin and Liszt, his greatest predecessors in the concert etudes tradition, had technically exploited the entire keyboard’s range. However, Debussy made the element of sonority a technical requirement for the pianist.
This thesis first analyzes the music structure and period, go step further understand technique, fingering and explore melody、harmony、and rhythm. In the interpretation, it also explores the questions of a performance by connecting with the music characteristic. For example, the climax and release of the music power and pedaling. The comparison of the Debussy''s 《Douze Etudes》 and similar composition from other musicians are presented in depth.
§Chih-Wan Chen Graduation Piano Recital§
Program:
Bach Toccata in E minor, BWV914
Mozart Fantasy in c minor, K.475
Sonata in c minor, K.457
Chopin Ballade No.4 in f minor, Op.52
Debussy Etudes《pour les huit doigts》
《pour les quartes》
《pour les notes repetees》
《pour les accords》
Gershwin Three Preludes for Paino
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Yang, Hsin-ying, and 楊欣穎. "A Study of Teaching Piano Etudes—Use Czerny Etude Op.821 and Chopin Etudes Opp.10, 25 as examples." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/22275066443234415344.
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碩士<br>國立臺南大學<br>音樂教育學系碩士班<br>94<br>In piano pedagogy, technical training is considered important at every stage of learning, from simple finger exercise to virtuoso performance. A learner may make use of the piano etudes to overcome the hurdles encountered during the training of various techniques in playing piano.
The main purpose of this thesis is to study the teaching of piano etude. In the thesis, the historical development and the classification of piano etudes are explored. As a result of the study, the writer is inclined to divide the etudes into two categories : the etudes for basic technical training and the concert etudes for public performance. Discussions are made on examples from Czerny Etude Op. 821, and Chopin Etudes Op. 10 and Op. 25. The study goes a step further to explore the teaching aspect of the etudes, and to study their resemblance and the differences.
In terms of the historical development of the piano etudes, the writer has found that the interpretations of the piano etudes by the composers themselves may vary in accordance to the different social backgrounds and circumstances in the different periods. Thus, through the classification and definition of the piano etudes by the scholars, a piano learner may get useful in-depth understanding of the characteristics and functions of the etudes, and thereby be able to set forth a proper learning plan to practice, and to achieve excellence through gradual steps.
For teaching the piano playing, the writer makes a skill classification based on different music shapes of Czerny Etude Op. 821, and Chopin Etudes Op. 10, and Op. 25. Each skill is presented by an example to illustrate the important aspects of playing and teaching piano.During the study, the writer has found the relative and the distinctive aspects of the etudes in its artistic and creative styles. As far as the relative aspects are concerned, each etude is provided for the purpose of one technique training and is strictly required for the playing speed, also some complementary teaching materials. For the different aspects, each etude serves a different purpose, different music structure and provides a different degree of harmonic using.
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Haapamaki, Sampo Elias. "Order in Désordre: Rhythmic and Melodic Structure in György Ligeti's Piano Etude No. 1." Thesis, 2012. https://doi.org/10.7916/D88S4X04.
Full textAbstract:
This dissertation is in two unrelated parts: the first part is the Dissertation Essay (p. 1-49) and the second part is the Dissertation Composition (p. 50-178). The Dissertation Essay is an analysis of György Ligeti's Étude 1: Désordre (Disorder) (1985) for piano. In the first part of the essay, there is a short introduction to Ligeti's Piano Etudes, quotations by him, and basic information about the Désordre. In the second part the etude's melodic lines are discussed, with help of figures of the phrases of the melodic lines. The main focus of the composition is in rhythm, which is given consideration in the third and most extensive part. The rhythm is approached from a perspective of different rhythmic levels, also with the help of figures. Finally in the fourth, shifting and form are scrutinized. The last part is followed by Conclusions, Bibliography / Works Cited, and Appendix (Analysis sheets of Désordre). In the analysis sheets of Désordre (Appendix) the etude is approached from the points of view of rhythmic levels of two individual lines, phrasings of these melodic lines, shifting of bar lines (between right and left hands) and overall form. Throughout this essay it is recommended that one follows Appendix. Désordre is a refined combination of systematic and non-systematic music. Ligeti bends, changes and breaks the system along the way. The fine balancing between the order and disorder, is a core idea of the composition. The Dissertation Composition is Velinikka, Concerto for Quarter-tone Accordion and Chamber Orchestra (2008). The composition was commissioned by Gaudeamus Music Week and is dedicated to Veli Kujala. Velinikka, 25-minute work, was premiered on September 1st, 2008 by Veli Kujala, quarter-tone accordion, and Insomnio conducted by Ulrich Pöhl at Muziekgebouw aan 't IJ in Amsterdam. The cadenza of the concerto is improvised or/and composed by the soloist. Cooperation between Veli Kujala and the undersigned has led to an elaboration of a new instrument, the quarter-tone accordion. The most significant difference between the quarter-tone accordion and a standard chromatic button accordion with free-bass system is that the reed blocks inside the accordion are replaced with quarter-tone reed blocks. The quarter-tone reed blocks are able to produce a complete quarter-tone scale of nearly five-octave range. The quarter-tone accordion was invented by Veli Kujala in 2004. The quarter-tone reed blocks were designed by Veli Kujala and built by Pigini, an accordion factory in Italy, in 2006. The tuning system used is quarter-tone equal temperament, in which the scale divides an octave into 24 equal-ratio steps. Today many composers are interested in using micro-intervals. This increases demand for instruments able to produce them. The quarter-tone accordion is one of the answers for this demand.
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Yin, Chen Tzu, and 陳姿尹. "The Analysis and Practice of Ástor Pantaleón Piazzolla《Tango Etude》for Bassoon and Piano." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/11913309424733643314.
Full textAbstract:
碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>98<br>Astor Piazzolla has known in Argentina as “El Gran Astor”. Because of his revolution and creation, Argentina Tango began appearing worldwide and gains the reputation throughout the world. The purpose of this thesis is to examine Piazzolla’s unique compositional style and personal sensual essence, and to research the emergence, development and style of Argentina music.
This thesis includes four chapters with the Introduction and the conclusion. Chapter by chapter, the thesis presents the biographical sketch of the composer, the origin of compositional style, the historical background and the characteristic of Argentina music, and the stylistic analysis and interpretation on “Tango Etude for Bassoon and piano”.
Chapter one is the introduction, which describes the purpose of this thesis, the research materials and the discussion of literature. Chapter two is to discuss the biographical background and compositional style of the composer and to provide the general overview of “Tango Etude for Bassoon and piano” as well as the information of editors and publishers. Chapter three is to conduct the research on Argentina Tango, including the origin of Tango, the history of development, stylistic characteristics.
Chapter Four is to analyze the form structure, motive figure, rhythmic device, and harmonic language. Chapter five is the interpretation on the relationship between thematic motives and Argentina Tango which is the main characteristic of the piece.
Piazzolla’s revolutionary Tango reawakens interests in traditional Tango which was nearly replaced by Rock ’n’ Roll. Piazzolla’s unique compositional style is an important vehicle for the development of Argentina Tango music, and it helps Argentina Tango earn the place in the world.
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Kuzmas, Janina. "Unifying elements of John Corigliano’s Etude Fantasy." Thesis, 2002. http://hdl.handle.net/2429/13113.
Full textAbstract:
John Corigliano's Etude Fantasy (1976) is a significant and challenging addition to
the late twentieth century piano repertoire. A large-scale work, it occupies a particularly
important place in the composer's output of music for piano. The remarkable variety of
genres, styles, forms, and techniques in Corigliano's oeuvre as a whole is also evident in
his piano music. This profusion of sources and its application to the Etude Fantasy are
explored in the introduction, which is a general discussion o f the composer's background
and aesthetic stance.
The intriguing title of the Etude Fantasy implies the coexistence of two genres and
raises the issue of the role of each genre in the thematic and structural organization o f the
work. It is this issue which is the principal subject of inquiry in the thesis.
Chapter I examines the historical background o f the etude genre, discussing
similarities between the pianistic techniques employed in Corigliano's work and those
found in specific historical instances of the etude genre over two centuries.
Chapter II focuses on the historical background of the fantasia genre, emphasizing
contrasting characters, textures, and keys as the main indicators o f a free form, and at the
same time drawing attention to thematic transformation as a device of structural
unification.
Chapter III concentrates on elements that produce structural and formal coherence
in John Corigliano's Etude Fantasy. These elements are motivic, intervalic, melodic, and
harmonic in nature.
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Liu, Chih-chun, and 劉持均. "Analysis of the Piano Learning Process of Autism─A Case Study of Chopin Etude op.10 No.3." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/86955130089103463810.
Full textAbstract:
碩士<br>東吳大學<br>音樂學系<br>98<br>The purpose of the thesis is to probe into a musical genius who suffers from autism on the performing progress of piano music. From the practice in Chopin Etude op.10 N0.3 , the person with the autistic syndrome is recorded the effect on the learning process as well as the feeling and the expression on music to the autisms.
In this study, the research is built on qualitative research; the participant who was completely recorded and the session were included 14 times from the choosing music to performance. The data was collected by narrative.
Following the information Process Model and theory of mind, this thesis aims to comprehend the participant and tell from the discrepancy and similarity in obstinacy, implementation, social interaction and the expressions on music.
The objective of the study is to find out the children autistics with musical genius via the superiority and limitation on musical performance. I would like to take this study to provide the ideas and viewpoints to the parents.
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Hsiao, yin-ying, and 蕭嫈殷. "Tyzen Hsiao''s piano works of (memorise of home Op.49)(Toccata Op.57)(Etude Op.55)discussion." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/b67j85.
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Ko, Huei-Chun, and 柯惠純. "Research of the Theme by Paganini Applied on Piano Works: Using the Examples of Liszt: Grande Etude de Paganini, No. 6, S. 141 and Brahms: Variations on a Theme by Paganini, Op. 35." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/b58887.
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Ku, Hsin-Yu, and 古心予. "J.B.Cramer 60 Etudes for the piano." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/ke2p74.
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Watt, Michael. "Kevin Volans piano etudes: a genealogical analysis." Thesis, 2014. http://hdl.handle.net/10539/15841.
Full textAbstract:
A dissertation submitted for the degree of Master of Music
in the Wits School of Arts, Faculty of Humanities,
University of the Witwatersrand
Johannesburg, 2014<br>Kevin Volans’s music has generated much international recognition and attention. As a result,
his influence is increasingly evident in the work of younger composers. As yet, little research
has delved deeply into Volans’s music at the technical level. His piano etudes consist largely
of transcriptions, paraphrases and variations of a wide range of his previous work. So, as a
microcosm of his oeuvre, they provide the ideal opportunity to understand his unique
compositional voice. A twofold, overarching question informs this study. What historical
conditions produced Kevin Volans’s etudes and how are they constructed?
In response to this question, this dissertation presents a written analysis of Kevin Volans’s
piano etudes using the notions formulated by Michel Foucault (1926-1984) in his genealogies.
The genealogical theoretical framework accommodates a multiplicity of analytical approaches
while providing the tools to synthesise a plurality of findings. The author has used Foucault’s
genealogical model to underpin the analysis of both the historical context surrounding the
etudes and the scores themselves. The goal is to gain a thorough understanding of the musical
material of the etudes in terms of the ideological landscape which produced them.
Part one of the dissertation lays out the broader epistemic conditions which produced the
etudes. The initial two chapters trace nodes of influence in parallel spheres: the ideological
and musical landscape of Volans’s life and issues surrounding the genre of the piano etude are
juxtaposed to set the scene for the textural analysis. The third chapter of part one traces the
transcription sources and outlines the most distinguishing characteristics of the etudes.
Together, these spheres yield the epistemic conditions within which the textural analysis can
take place. The three chapters in part two focus on the scores of the etudes. They each deal
with the organisation of the material by applying slightly different existing and modified
analytical parameters. Chapter 5 analyses the stratified, almost sedimentary forms evident in
the etudes. By mapping out levels of non-hierarchically layered groupings of material in the
etudes, strong reference points within the structure of each are identified. Chapter 6 takes a
semiotic viewpoint, reading the musical images through the lens of metonymy, metaphor and
allegory. The final chapter seeks to understand the organic and mechanical composition
techniques used in the etudes. The conclusion reunites the scattered findings of the preceding
chapters by tracing the genealogical web of power relations between them. This web of power
relationships represents both the internal and external dynamics at play within Volans’s
etudes.
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Liao, Chao-Chun, and 廖釗君. "The Piano Etudes on themes by Paganini." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/52304917673786118324.
Full textAbstract:
碩士<br>國立中山大學<br>音樂學系<br>87<br>In the early nineteenth century, virtuosity prevailed in public concerts. The Italian violin virtuoso, Paganini, had enormous impacts on violin playing as well as piano playing, especially in performance style and the exploration of virtuosic techniques. The piano etudes of Schumann and Liszt were among the earliest examples which were composed under Paganini's spell. The purpose of the present study is to explore the technical and artistic aspects of the nineteenth-century concert etudes, by examining Schumann and Liszt's "Paganini Etudes".
There are four chapters. In the first chapter, focus is on the historical background and the virtuosic style of Paganini. Analysis of the formal structure of the etudes by Schumann and Liszt are given in the second chapter, while the various kinds of technique used in the etudes are discussed in the third chapter. Paganini's influence on piano etudes after Schumann and Liszt is further stressed in the final chapter, especially the influence of the A minor Caprice by Paganini.
Schumann's Paganini etudes come close to "transcription", keeping the original spirit; while those of Liszt's are full of new sonority and drama. Their forms are often in sectional, or on theme and variations. Only a mature performer who is mentally and physically competent can handle the complex technique. Both Schumann and Liszt contribute to the development of concert etude greatly.
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Miranda, Clayton. "The Inception of Trumpet Performance in Brazil and Four Selected Solos for Trumpet and Piano Including Modern Performance Editions: Fantasia for Trumpet (1854) By Henrique Alves De Mesquita (1830-1906); Vocalise-Etude for Trumpet (1929) By Heitor Villa-Lobos (1887-1959); Invocation and Point (1968) By Osvaldo Costa de Lacerda (1927-2011); and Concerto for Trumpet And Piano (2004) By Edmundo Villani-Côrtes (B. 1930)." 2016. http://hdl.handle.net/10365/25708.
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Rinker, J. T. ""Situational Etudes" For soprano voice and prepared piano /." 2006. http://proquest.umi.com/pqdweb?did=1192183781&sid=7&Fmt=2&clientId=39334&RQT=309&VName=PQD.
Full textAbstract:
Thesis (Ph.D.)--State University of New York at Buffalo, 2006.<br>Title from PDF title page (viewed on Mar. 09, 2007) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Stadelman, Jeffery. Includes bibliographical references.
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Wang, Wen-Chuan, and 王文娟. "A Research on Gyorgy Sandor Ligeti’s Piano Etudes." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/ah7m72.
Full textAbstract:
博士<br>國立臺北藝術大學<br>音樂學系博士班<br>102<br>Gyorgy Sandor Ligeti (1923-2006), contemporary Hungarian composer, plays an important role and has made a great impact on the twentieth century world’s music scene with his original ideas of composition and extraordinary achievements. His Piano Etudes which were written during his later period from 1985, combine both multiculturalism and science, and have been regarded as the most influential works for piano after Debussy, Ravel and Bartok. They also have been included in the required repertoire of renowned piano competitions. The thesis gives a general overview of piano etude genre and its evolution throughout music history and specially focuses on the three books of Piano Etudes by Ligeti. The specific research based on the performance aspect includes formal structure, melodic organization, rhythmic character, dynamic devices, tempo, accent, technique difficulties, and the build-up towards musical climax.
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Böhmová, Andrea. "Umělecko-pedagogický odkaz Aleny Fišerové." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408702.
Full textAbstract:
The Diploma Thesis is a presentation of the notable Czech piano teacher Alena Fišerová, who spent all her professional life at the "Vzorová hudební škola" (Model Music School) in Voršilská Str. in the borough of Praha 1. The first part of the Thesis focuses on her family background and childhood. Her studies and professional life are also described. This information is mostly based on witness accounts and memories of her former pupils and friends. Exact data was verified using personal documents available and the chronicles of the Vzorová hudební škola. The Thesis follows in detail her method of teaching the piano as well as the contribution that she presented in her day and time. Alena Fišerová did not leave her mark in piano pedagogy as a teacher alone but also as the creator of many sheet music compilations, either alone or in collaboration with others. The best-known titles out of her publishing activities are the Album etud I. - V. (Album of Études, vol. I - V), to this day possibly the most commonly used compilations at the Základní umělecká škola (Fine Arts School) in the Czech Republic. This works is the subject of detailed analysis and description in the following chapters. All five volumes of the Album etud are introduced and selected études from vol. I and II are analysed with regard to...
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Okamoto, Akane. "Nicholai Kapustin's Eight Concert Etudes, Op. 40: Reflections on Analysis, Practice, and Performance." Thesis, 2013. http://hdl.handle.net/1807/43683.
Full textAbstract:
Nicholai Kapustin (1937-), a Ukrainian composer whose music amalgamates the Western classical tradition with jazz idioms, is becoming increasingly acclaimed in recent years. His works are known for the physical challenge they impose upon the player due to their complexity that is often accompanied by fast tempi. No less formidable, however, is the challenge to discover the conceptual binding that is needed to capture the overarching sense of purpose within a given piece and communicate it in performance.
One of the most effective approaches in performing Kapustin's music is to take advantage of the structure upon which his compositions are based, as it can allow a classically trained performer to utilize previously developed analytical skills. Although analytical study is an asset for virtually any type of music, the performance of Kapustin's music especially can benefit from analysis owing to its dense and active textures, rhythmic continuity, and varied repetition of relatively homogeneous melodic material. This research encourages regular involvement in analysis and internalizing the music away from the instrument.
An analysis of Kapustin's Eight Concert Etudes, Op. 40 is provided along with the discussion of performance issues that are related to the analysis. These include solidifying the left hand (Etude No. 5), expressing characters through the varying rhythmic values of the melody and accents (Etude No. 6), and isolating various thematic components while simultaneously strengthening their inter-connections (Etudes Nos. 7 and 8). In addition, the research examines some of the psychological implications of analysis, exploring the ways in which analysis can help the performer to be attentive and engaged in the moment. Furthermore, in order to help one take pleasure from and fully benefit from analytical insights during practice, the research aims to cultivate a mindful mode of thinking where one steps away from constant action and becomes more curious and observant in the process of music-making. The conclusion addresses the physical aspect of playing, applying the notion of mindfulness to one's orientation to the instrument.
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Kim, Jooyoung. "A study of the Chopin Etudes, op. 25, with performance suggestions for technical and musical issues." 2011. http://liblink.bsu.edu/uhtbin/catkey/1652232.
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Klein, Andreas. "The Chopin "Etudes": An indispensable pedagogical tool for developing piano technique." Thesis, 1989. http://hdl.handle.net/1911/16247.
Full textAbstract:
Today's pianists perform with a high degree of technical efficiency and versatility demanded by the recording industry and expected by audiences world-wide. The piano student with aspiration towards a major performing career needs to develop such standard of skill in order to find recognition in the competitive musical scene. It is the obligation of every pedagogue to introduce specific pieces to the student at the appropriate time which give him or her a calculated technical challenge. Even though exercises are usually a prominent part of the systematic training, most students dislike practicing them because they are mechanical and worthless towards building a performance repertoire. In addition, too much emphasis on technical studies will lead the student to think that skill is the most important goal of practicing. Therefore, the teacher has to find pieces which stimulate technical progress and feature musical beauty at the same time.
The 27 Etudes by Chopin represent a collection of pieces which contain many technical and musical tasks. Compared to other etudes written in the early nineteenth century (e.g. by Czerny, Moscheles, Hiller, and Thalberg), they have earned superiority through their many pianistic and musical innovations. Because the Chopin Etudes were written over many years, they feature many similarities to other works by the composer which facilitates their performance. In addition, the thorough study of these etudes will give the pianist the necessary skill to deal with many other technical problems in late classical and romantic pieces. The Chopin Etudes are not suitable for the beginner. However, when the student has acquired proficiency with arpeggios, trills, and scales in the Baroque and classical repertoire, the Chopin Etudes will not only serve to expand the technical ability, but can be added to the performance repertoire as well.
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Chung, Hsin Yi, and 鍾馨誼. "R. Schumann:Symphonic Etudes op.13 analysis/Hsin yi Chung piano concert." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/59819693879226877095.
Full textAbstract:
碩士<br>東吳大學<br>音樂學系<br>92<br>This piece of music is composed by Robert Schumann (1810-1856) who ages twenty-four at the time in 1834. The title comes from the father of Schumann’s first love, Ernestine von Fricken. Mr. Fricken who was an amateur flutes player and always wanted to be a composer. When Mr. Fricken dedicated the piece of music that he wrote in 1834 to Schumann, he was asked for opinions. Schumann not only did a thorough analysis carefully, but also composed its own variation based on Mr. Fricken’s piece. The new set of music is combined by twelve Etudes and is named Thema Quasi Marcia Funebre. The idea of the title comes from different Etudes such as Davidsbundler Etuden and Etuden im Orchester Character, von Florestan und Eusebius. However, Schumann had decided to use his own name for the new Etudes in 1837, and the given name was Etudes symphoniques. The name was also dedicated to an English composer whose name is William Sterndale Bennet. When the second edition of Etudes was out in 1852, Schumann omitted the third and ninth Etudes and added a final piece called Finale to the set. The title of the new set was changed to Etudes en forme de variations. After Schumann’s death, J. Brahms (1833-1897) edited Schumann’s version and created a third version in 1862. The third edition of Etudes is currently the most popular version. It not only includes the third and ninth Etudes, which were originally omitted by Schumann, but also adds Finale to the set.
The part “symphoniques” of the name Etudes symphoniques has its purpose. Schumann tried to use piano to make the same sound effect as the orchestra. Every variations and chords used produces a unique style of orchestra sound.
The author has divided the work into three sections. First of all, music analysis is discussed. This involves the background of composition, different kinds of Etudes versions, and the combination of variation trend and Etudes for performance. Then, more analysis is taken into the piece Etudes symphoniques. The analysis includes chords, beats and the structure of the music. At last, technical evaluation of the music is examined. The evaluation talks about the techniques, practicing methods, and suggestions for the title and variation.
J.S Bach The Well-tempered Clavier vol.II A major Prelude & Fugue
F.J.Haydn Sonata in C major Hoboken XVI：50
J.Brahms Zwei Rhapsodien op.79
R.Schumann Symphonic Etudes op.13
F. Poulenc Improvisations No.1.6.7.15
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Parks, David. "A proposed strategy for training indigenous youth ministers in Baptist churches in Singapore." 2004. http://hdl.handle.net/10392/306.
Full textAbstract:
This dissertation proposes a strategy for training indigenous youth ministers in Singapore as a means to reach and disciple Singaporean youth. Chapter 1 defines the problem of Singaporean Baptist youth ministry and argues that current needs could be met by training indigenous youth ministers.
Chapter 2 provides the historical and cultural background of Singapore. The characteristics of the church in general, as well as the Baptist church specifically, are explored. Chapter 3 analyzes the major global changes currently directing the shape of youth cultures worldwide. I assert that, in the same way that Singaporean youth are greatly influenced by the practices and lifestyles of the indigenous adults, they are also affected by ubiquitous global forces.
Chapter 4 is entirely focused on youth culture in the Singaporean context. Singaporean youth culture is compared and contrasted with characteristics of both global youth culture and indigenous adult culture. Chapter 5 explores the history of youth ministry in Singapore. There is consideration of both church-based and parachurch youth ministries. The Baptist church's missed opportunities to reach out to youth and their current desire to take the necessary steps for student evangelism are highlighted.
Chapter 6 proposes the missiological principles necessary for the justification of a cross-cultural youth ministry training program. Subjects discussed include the use of buildings, the strategy of multiplication, problems of dependence upon foreign leadership, and the importance of implementing a cross-cultural approach to reach youth.
Chapter 7 proposes specific strategies to train indigenous youth ministers in Singapore on an informal basis. After the strategies of Youth Ministry International and Sonlife are examined, specific methods of informal training through the Singapore Baptist Convention are discussed.
In chapter 8, I present a model of formal training that could be established at the Baptist Theological Seminary of Singapore. The model includes mandatory internships and a list of classes necessary to make up an undergraduate youth ministry major. Chapter 9 contains the conclusion of the dissertation.<br>This item is only available to students and faculty of the Southern Baptist Theological Seminary.
If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.
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Bauer, Henry Raymond. "A technical, musical, and historical analysis of Frederic Chopin's etudes, op. 10." 1996. http://digitalcommons.butler.edu/grtheses/2/.
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Kwak, Jason Jinki. "Mastering Chopin's Opus 25 a pianist's guide to practice /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110727.
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Tsong, Mayron Kacy. ""Etudes pour piano, premier livre" of Gyorgy Ligeti: Studies in composition and pianism." Thesis, 2001. http://hdl.handle.net/1911/17473.
Full textAbstract:
In Ligeti's own description of the Piano Etudes, he says, they are "Etudes in a compositional and pianistic sense"1 that "behave like growing organisms."2 Upon more detailed analysis, Ligeti's complex ideas of organic structure and illusion are revealed. However, the complicated, yet highly organized configuration does not detract from poetic expression. In this respect, they are like the Etudes of Chopin and Debussy.
Although Chopin, Debussy, African idioms, Nancarrow and jazz are compositional influences in Ligeti's Piano Etudes, these pieces are altogether unique. By revealing his musical and extra-musical inspiration, Ligeti is only referring to the musical/aesthetic environment in which he composes. In his Piano Etudes, Ligeti has uniquely assimilated this environment and the result is music that breathes and communicates on a personal level. Their directness of communication, innovative rhythmic texture, and virtuosic pianism place them among the most attractive and important works of contemporary piano literature.
1In an introductory lecture for a performance of Desordre in Gutersloh on May 5, 1990 as described in liner notes to Erato ECD 75555, 1990 (Notes translated by Sid McLauchlan, performed by Pierre-Laurent Aimard). 2Gyorgy Ligeti, translated by David Feurzeig and Annelies McVoy in the liner notes to "Works for Piano, Volume 3: Etudes, Musica ricercata," Sony Classical SK 62308, 1997 (Pierre-Laurent Aimard).