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Dissertations / Theses on the topic 'Piano practices'
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1
Yong, Kerry. "Performance practices in music for piano with electroacoustics." Thesis, Royal College of Music, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576937.
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Da, Costa Neal Peres. "Performing practices in late-nineteenth-century piano playing." Thesis, University of Leeds, 2001. http://etheses.whiterose.ac.uk/1390/.
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Early piano recordings provide audible evidence of the style of late- nineteenth and early twentieth century pianists. These clearly exhibit an approach to piano playing which differs radically from the present. The relationship between the practices preserved in the recordings and their description in contemporaneous written texts is the focus of attention here. The investigation shows that the important features of recordings are not faithfully conveyed by the written texts. Therefore, the recordings reveal a manner of execution and interpretation that could seldom have been envisaged from the written texts alone. The recordings examined here include those of a generation of pianists who were trained, in some cases, 150 years ago. These include Carl Reinecke, Theodor Leschetizky,Camille Saint-Satins, and Johannes Brahms, and those of a later generation have also been considered. Their recordings preserve vital information about general performing practices of the second half of the nineteenth century, as well as the idiosyncrasies of their playing. The significance of early recordings and their importance as a means of appreciating lost traditions is outlined in the Introduction. Chapter 1 explores the early recording processes and draws conclusions about the value of the recordings as preserved evidence. The following chapters investigate practices that are prevalent in the recordings. These include dislocation (asynchrony of the hands), unnotated chordal arpeggiation, metrical rubato and various types of rhythmic alteration, and tempo modification. Each chapter compares contemporaneous and historical written references with numerous recorded examples provided on the accompanying compact discs. This process reveals, in many cases, striking inconsistencies, and highlights the gulf between theory and practice. It also suggests that descriptive language and musical notation have hidden meanings for which the recordings provide an indispensable key. Early piano recordings capture an expressive style alien to modern taste. The implications of this study are that any attempt at historically informed performances must acknowledge the gulf between current aesthetics of performance and those of the late nineteenth and early-twentieth centuries.
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Jenkins, Matthew B. "Contemporary percussion performance an overview of aesthetics and performance practices /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453661.
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Thesis (M.A.)--University of California, San Diego, 2008.Accompanying disc is DVD-ROM and contains sound files of the recording of the recital. Title from first page of PDF file (viewed Jun. 25, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 7.
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Morgenroth, David Jonathan. "Collaborative Crossover: Identifying Classical Vocal Collaborative Piano Practices in Jazz Vocal Accompanying." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804985/.
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Classical vocal collaborative piano and jazz vocal accompaniment are well-established fields with long-standing performance traditions. Classical collaborative performance practices have been researched and codified, but jazz accompanying practices largely remain in the domain of aural tradition. Both classical and jazz accompaniment share associated practices, such as rubato, transposition, and attention to lyric diction and inflection, but there is little previous investigation into the idea that classical collaborative practices might apply to jazz accompanying. This research examines jazz piano accompanying practices in sung verses of standard tunes to demonstrate how accomplished jazz pianists intuitively use many of the same techniques as classical collaborative pianists to create balance with singers. Through application of expressive microtiming analysis to graphical displays of transcribed recorded performances, a strong correlation is established between the classical and jazz vocal accompanying traditions. Linking classical practices to jazz potentially creates a foundation for jazz accompanying pedagogy.
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Rock, Emily Megan. "PROFESSIONALISM AND THE INDEPENDENT PIANO TEACHER: A COLLECTIVE CASE STUDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151275370.
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Mullins, William D. "A survey of piano teachers whose students have ADHD: Their training, experiences, and best practices." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500597748529337.
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Freitas, Stefanie Grace Azevedo de. "Modelagem como estratégia para o desenvolvimento de recursos expressivos na performance pianistica : três estudos de casos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/71790.
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Neste trabalho discutimos três estudos de caso com o objetivo de investigar empiricamente a modelagem como ferramenta de estudo no desenvolvimento musical e pianístico de alunos do Bacharelado em Instrumento/Piano da UFRGS. Durante a pesquisa, cada um dos três participantes foi instruído a ouvir atentamente uma gravação de pianista de renome internacional como modelo a ser seguido. Na etapa da coleta de dados, os participantes realizaram três gravações de dois trechos contrastantes de uma obra do seu repertório e gravaram cinco entrevistas semiestruturadas. A análise dos dados baseou-se nos relatos sobre as preocupações referentes aos trechos escolhidos, nas reflexões sobre os efeitos da modelagem, na observação das características de suas interpretações após a modelagem e na análise do andamento e da condução do tempo musical. Para isso, utilizamos o software Sonic Visualiser. A análise de dados juntamente com o conjunto de entrevistas individuais comprovam nossa hipótese de que a modelagem incrementa e amplia os recursos expressivos dos participantes, incentiva a autonomia e individualidade de suas interpretações e potencializa a audição crítica e a reflexão sobre processos de estudo.This research presents three case studies aiming at empirically investigating modeling as a learning tool for the musical and pianistic development of undergraduate students. Each one of the three students was instructed to critically listen to the recording of a famous pianist as a model to be followed. Data collection combined three recording sessions of two contrasting excerpts already in the students repertoire and five semi- structured interviews. The analysis of the resulting data was based on individual reports concerning the selected musical segments as well as their reflection on learning processes in relation to the model, observations of interpretive characteristics after the modeling and analysis of timing and choices of musical tempo. The chosen software was Sonic Visualiser. Data analysis in combination with the sets of individual interviews confirmed our initial hypothesis that modeling increases and widens the their interpretations, potentiates critical listening and promotes reflection on learning processes.
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Llewelyn-Jones, Iwan. "Studies in pianistic sonority, nuance and expression : French performance practices in the piano works of Maurice Ravel." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/100830/.
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This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques. It will be shown that through his activities as teacher and performer, as well as composer, Ravel took control of every detail pertaining to his piano works with his meticulously notated scores, piano roll recordings and interpretive guidance imparted to other pianists, thus catalysing performance practices that promulgated a distinctively French twentieth-century pianistic tradition.
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Silva, Flávia Figueira da. "Bagatelas op. 119 de Beethoven: um estudo interpretativo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-105242/.
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O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).
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Cathcart, Sally. "The UK piano teacher in the twenty-first century : exploring common practices, expertise, values, attitudes and motivation to teach." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/10018208/.
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The thesis explores common practices, expertise, values, attitudes and motivation to teach amongst piano teachers. The findings are based on the Piano Survey 2010 which gathered responses from 595 piano teachers across the UK. The research is first placed in context by tracing the history of piano teaching from the Victorian period to the present day. The findings of the survey start by presenting demographic information about teachers followed by an in-depth exposition of pupil numbers, the standard of pupils, lesson elements and performance opportunities. The research was particularly concerned with establishing more understanding about teaching beginners and one chapter focusses on early lessons and tutor books. How respondents ensured progression for their piano pupils was discussed in the next chapter. The last areas to be reported on covered teachers and their motivation. First their motivation for becoming a piano teacher was outlined, followed by what were found to be the rewarding and less rewarding features of teaching. Finally, how the piano teachers developed their piano teaching skills was explored and teachers’ attitudes to professional development and membership presented. During the discussion the Victorian inheritance of piano teaching was placed in context and the lack of development since that period highlighted. The conclusion argued that piano teaching principles need to be developed by the profession and a set of widely accepted teaching standards adopted for progress to be made.
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Paetsch, Annabelle. "Performance practices in Chopin's piano sonatas, Op. 35 and 58, a critical study of nineteenth-century manuscript and printed sources." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58412.pdf.
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Geidel, Stanley M. "Mozart's Trio in E-flat, K. 498, for piano, clarinet, and viola : an analytical examination of melodic relationships, a comparative study of current editions, and an investigation of contemporary performance practices." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722774.
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The purpose of this study was to create a document which would provide a variety of insights into Mozart's Trio in E-Flat, K. 498, for piano, clarinet, and viola. Three specific areas were investigated. A melodic analysis of the work was developed with the intention of illuminating the structure of the musical material itself. This analysis explored the dual forces of unity and contrast. Specific motivic shapes were explored which serve to unite the various thematic areas of the work; other elements were identified which are consistently utilized to create contrast and conflict.Secondly, the writer undertook a comparison of current editions of K. 498. Editions were identified as one of three types. Those editions identified as Authentic sought to reflect Mozart's original manuscript; Interpretive editions presented an editorial view of the Trio. Imitative editions were developed entirely from previously existing editions. Comparisons were made both within individual categories as well as between categories. The writer conducted a personal investigation of Mozart's manuscript which provided valuable information regarding the authenticity of certain passages.The study concluded with an investigation of current views on the presentation of K. 498 in performance. Information was obtained from recorded performances of the Trio. In addition, the writer conducted a survey of the opinions of teachers and performers. Comments on the revision of specific passages relative to pitch are included, as well as opinions on tempo, meter, dynamics, articulations, stresses, balance, the interpretation of specific phrases, and musical character.School of Music
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Rader, Aaron Christian. "Jean-michel Defaye’s Á La Maniére De Debussy Pour Trombone Et Piano: A Compositional Comparison To Claude Debussy’s Harmonic, Melodic, And Rhythmic Practices." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103379/.
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Jean-Michel Defaye composed Á La Maniére de Debussy in 2001 as part of a series of trombone solos written to emulate the compositional styles of significant predecessors. This study compares Á La Maniére de Debussy to the harmonic, melodic, and rhythmic practices of Claude Debussy (1862–1918), an innovative French composer and recognized figure of musical Impressionism. At present, there is limited scholarship on Defaye’s Á La Maniére de Debussy and its compositionally imitative nature. The first section of this document presents a survey of historical information, current literature, and methods of examination. The second section provides biographical information on composers Jean-Michel Defaye and Claude Debussy. The third section exhibits a compositional comparison of Á La Maniére de Debussy to Debussy’s use of harmony, melody, and rhythm. The final section draws a conclusion to the piece’s importance to the trombone solo repertoire and includes an interview with French trombonist Jacques Mauger who collaborated with Defaye on Á La Maniére de Debussy. Although this document is not a performance guide, an informed performance of Á La Maniére de Debussy requires a trombonist to understand Debussy’s unique treatment of harmony, melody, and rhythm.
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Cremonini, Sofia. "Outlining energy retrofitting strategies in the city of Nonantola: defining a proposal for priority guidelines through the study of good practices in Nijmegen, the Netherlands." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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In Emilia-Romagna, la legge n.24/2017 obbliga i comuni a adottare il Piano Urbanistico Generale, il quale prevede, al fine di promuovere la rigenerazione urbana, un’approfondita analisi del tessuto urbano esistente e la rilevazione degli edifici che presentano una scarsa qualità in termini di efficienza energetica. Risulta evidente dunque l’elaborazione di nuove azioni coordinate a livello di pianificazione.
L’obiettivo dello studio è la proposta di un set di scenari di rigenerazione e priorità di intervento per la riqualificazione energetica diffusa del Comune di Nonantola. Queste sono elaborate a partire dallo studio di casi applicativi e modelli di governance messi in atto dalla città di Nijmegen (Paesi Bassi), dove la transizione energetica e un tema centrale ed è ben integrata nelle strategie di pianificazione energetica.
Nei primi capitoli, la ricerca si concentra sul caso olandese, delineando i principali attori nel settore abitativo e il quadro legislativo adottato in merito alla transizione energetica. Successivamente, il focus viene spostato sulla città di Nijmegen, dove vengono analizzati sia il sistema di governance che l’amministrazione locale sta implementando sul suddetto tema, sia casi pratici a supporto della ricerca.
La seconda sezione dello studio si sofferma sul caso italiano. Si analizzano in prima istanza le principali problematiche riguardanti la riqualificazione energetica, e in particolare il quadro legislativo urbanistico emiliano-romagnolo, per mettere in luce la necessità di integrare il tema energetico degli strumenti di pianificazione e rigenerazione del territorio. Infine, il caso di Nonantola: si elabora una proposta che consiste nell’analisi del tessuto residenziale costruito in merito a tematiche rilevanti per la riqualificazione energetica, e si definiscono dunque degli areali che determinano alla scala del comparto caratteristiche tipologiche simili, accompagnate da linee guida e priorità di intervento da seguire.
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Owen, Mary Elizabeth. "THREE INDIANA WOMEN'S CLUBS: A STUDY OF THEIR PATTERNS OF ASSOCIATION, STUDY PRACTICES, AND CIVIC IMPROVEMENT WORK, 1886-1910." Thesis, Connect to resource online, 2008. http://hdl.handle.net/1805/1636.
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Thesis (M.A.)--Indiana University, 2008.Title from screen (viewed on July 8, 2008). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Robert G. Barrows, Nancy Marie Robertson, Marianne S. Wokeck. Includes vitae. Includes bibliographical references (leaves 166-172).
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Coker, Bradley Gene. "The employment of historically informed performance practices in present day tuba performances of two Italian baroque violoncello transcriptions." Thesis, Recital, recorded June 5, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6122.
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Thesis (D.M.A.)--University of North Texas, 2008.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Nov. 7, 2005, Mar. 20, 2006, June 5, 2006, and Nov. 5, 2007. Includes bibliographical references (p. 80-83).
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Huang, Fang Ting. "Preschool piano methods and developmentally appropriate practice." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4721.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 27, 2007) Vita. Includes bibliographical references.
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Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.
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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.The exam concert is archived for copyright reasons until 2023.
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Lee, Suan Liu. "Czerny's interpretation of Beethoven's piano sonatas." Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/czernys-interpretation-of-beethovens-piano-sonatas(feb6fd76-4266-471f-a1e0-5dd95dff5b83).html.
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The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing a. certain consistency over a period of about twenty years. Most of Czemy's teaching on the performance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from Beethoven's own practice. However, he sometimes altered Beethoven's directions because he considered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because they did not conform to contemporary performing styles, or simply because they did not suit the more resonant pianos of his day.
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Weaver, Jeffery L. "The Role of Goals and Practice Steps in Piano Practice Assignments." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124721584.
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Brusco, Tatiana. "Analisi della domanda di sosta veicolare e delle relative ripercussioni sulla mobilità urbana." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amslaurea.unibo.it/1312/.
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Questa si ripropone in prima istanza di analizzare le origini e l’evoluzione del concetto di sostenibilità e successivamente di prendere in considerazione uno dei tanti mezzi che consentono di perseguirla: la gestione della sosta.
Per molti anni infatti, a partire dal momento in cui sono iniziate ad emergere le esternalità negative legate al traffico, si è pensato che quello dei parcheggi fosse solo un ulteriore problema. Solo di recente, dalla fine degli anni ’90, fatta eccezione per il caso della Gran Bretagna che ha fatto da capofila già a partire dagli anni ’80, si è iniziato a considerare la sosta come parte della soluzione dei problemi di congestione, inquinamento e di vivibilità delle città. Verrà analizzata perciò nel secondo capitolo l’evoluzione delle politiche della sosta a livello europeo, con particolare attenzione all’operato svolto dall’EPA (European Parking Association) associazione leader nel settore riconosciuta dall’Unione Europea e sostenuta da 18 Paesi membri tra cui anche l’Italia. Il lavoro svolto da quest’associazione, nata nei primi anni ’80, è quello di decidere insieme agli associati delle linee comuni da seguire per migliorare le politiche a livello europeo riguardo la gestione della sosta. Si tratta nella pratica di studi, convegni e analisi degli effetti prodotti da provvedimenti intrapresi nelle varie città che hanno iniziato ad introdurre la regolamentazione della sosta. Sempre nel secondo capitolo saranno quindi presentate le linee guida europee nell’ambito dei parcheggi e si analizzeranno casi di “Best Practices” di alcuni Paesi che hanno introdotto provvedimenti per la gestione della sosta.
Nel terzo capitolo invece viene considerata la situazione in Italia parlando in principio di Aipark, l’associazione italiana operatori nel settore dei parcheggi che partecipa alle attività dell’Epa e prendendo in esame in seguito le politiche adottate a livello nazionale e nello specifico in alcune tra le più importanti città italiane. Si vedrà come sia ancora troppo marcata la distanza del nostro Paese dai progressi registrati in altri Paesi dell’UE, con le dovute eccezioni.
Per quel che riguarda l’aspetto normativo è significativo il fatto che, nonostante il riconoscimento della forte influenza che le politiche della sosta hanno sulla regolazione del traffico, ci siano ancora molte lacune legislative e che spesso la sosta non compaia tra i soggetti delle leggi in tale settore. La legislazione italiana nell’ambito dei parcheggi verrà analizzata nel quarto capitolo.
Successivamente, nei capitoli 5 e 6 si parlerà delle fasi preliminari della redazione del Piano della Sosta di Casalecchio di Reno.
Il Piano della Sosta è uno dei Piani Particolareggiati che costituiscono il 2° livello di progettazione del PUT (Piano Urbano del Traffico) e rappresenta uno strumento di pianificazione utile ad analizzare lo stato di fatto del sistema dei parcheggi di una città in modo da coglierne le criticità e fornire eventualmente le soluzioni per ovviare ad esse.
Nel quinto capitolo viene effettuato un inquadramento territoriale di Casalecchio e si parlerà delle problematiche della sosta emerse nel PGTU (Piano Generale del Traffico Urbano) che costituisce il progetto preliminare o Piano Quadro del PUT. Le fasi attraverso le quali viene elaborato un Piano della sosta si possono sintetizzare nei seguenti punti:
- Studio della normativa nazionale e locale e di esempi significativi di altre realtà nell’ambito della sosta.
- Analisi dello stato di fatto in termini di domanda e offerta.
- Indagini mediante incontri pubblici, distribuzione di questionari o interviste dirette, per cogliere le esigenze degli utenti che usufruiscono del servizio.
- Analisi delle eventuali criticità emerse.
- Progettazione del nuovo assetto della sosta.
- Campagna di sensibilizzazione per fare “accettare” con più facilità i cambiamenti agli utenti.
Nel sesto capitolo di questa tesi, e negli allegati si possono consultare i risultati delle indagini su domanda e offerta condotte da TPS (Transport Planning Service), azienda che svolge attività di pianificazione e progettazione, di fornitura software, oltre che indagini e rilievi nell’ambito dei trasporti. Verranno descritte le modalità di rilievo e verranno presentati i risultati ottenuti dall’elaborazione dei dati raccolti, con qualche accenno alle possibili soluzioni per risolvere le problematiche emerse. La fase di progettazione vera e propria degli interventi non verrà invece trattata in questa sede.
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Chang, Yihuei Summer. "A comparison of four practice procedures for learning polyphonic piano music /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Evans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.
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譚詠基 and Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.
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Tam, Wing-Kei Ruth. "Accent markings in Schubert's piano sonatas /." Hong Kong : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14292440.
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Miguel, Mariana da Silva. "Experimental creative practice at the piano: a case study." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29942.
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This document focuses on the development of an artistic practice-based research project focused on
active experimentation and the development of creativity at the piano. The experimentation process
relies on the exploration of extended and prepared piano techniques, which are described throughout
the text, as well as on the use of electronics. The creative process involves the composition of a musical
piece (Become One) inspired mainly by Music for 18 Musicians, by Steve Reich, its structure,
instrumentation and compositional processes. The purpose of this project is to reflect on the work of
authors such as Dewey (1934), Shockley (2018), Vaes (2009) and Mayas (2019), and relate it to the
documentation of these processes, hence fostering future creative and experimental practices in
other performers; Prática criativa experimental ao piano: um estudo de caso
Resumo:
O presente documento foca-se no desenvolvimento de um projecto de investigação artística baseado
na experimentação e no desenvolvimento da criatividade ao piano. O processo de experimentação
está centrado na exploração de técnicas expandidas e de piano preparado, descritas ao longo do texto,
assim como na utilização de electrónica. O processo criativo envolve a composição de uma obra
musical (Become One), inspirada maioriatiamente em Música para 18 Músicos de Steve Reich, a sua
estrutura, instrumentação e processos de composição. O propósito deste projecto centra-se na
reflexão do trabalho de autores como Dewey (1934), Shockley (2018), Vaes (2019) e Mayas (2019),
relacionando-a com a documentação dos processos criativo e de experimentação, promovendo a
replicação de práticas idênticas por parte de outros instrumentistas.
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Jardaneh, Nisreen. "Exploring young piano students' perceptions of effective practice strategies." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27856.
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Michalak, Filip. "Piano Competitions : Preparation and Purpose." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.
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Ding, Shiau-Uen. "Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and “Tape”." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179467001.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.Title from electronic thesis title page (viewed Jul.10, 2007). Includes abstract. Keywords: contemporary music; computer music; electroacoustic; electro-acoustic; piano; tape; Christopher Bailey; Balladei; Luigi Nono; sofferte onde serene; Mario Davidovsky; Synchronisms; Jonathan Harvey; Tombeau de Messiaen; James Mobberley; Caution to the Winds; Into the Maelstrom; Katherine Norman; Trying to Translate Includes bibliographical references.
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Roussou, Evgenia Neophytou. "Exploring the piano accompanist in western duo music ensembles : towards a conceptual framework of professional piano accompaniment practice." Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16564.
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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.
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Cho, Hye-Won Jennifer. "Performance practice issues in Franz Schubert's Fantasy in C major ("Wanderer fantasy"), D. 7960." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023755691&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Orduz, Ana Maria. "Integrating contemporary world music into our teaching: discussion on the pedagogical value and performance practice of seven commissioned pieces by four Colombian composers." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1050.
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In this essay I discuss a collection of seven piano pieces that I commissioned by four emerging young Colombian composers. It contains two parts: the first explains the importance of involving contemporary and world music in piano education and includes a brief history of music in Colombia. The second part discusses in detail each of the piano pieces and the contemporary and folkloric references that each one uses. It also illustrates the technical challenges that each piece presents and provides suggestions on how to practice each work. The two pieces by Castaño include taped electronic sound as part of them. The two files are attached with the paper.
I have always believed in the responsibility and importance that teachers have in the creation of new music and discuss the importance of educators working with composers. I also explore the importance of teaching and learning world music and contemporary music from the beginning of a piano education. The commissions are the first step towards the creation of a piano pedagogical anthology of Colombian contemporary music for the late intermediate and early advanced level for which there is very little Colombian repertoire.
Colombia's rich rhythms, dances and musical traditions are not reflected in the formal music education in the country. Heightened security and the resulting economic growth have brought significant changes over the last ten years to the country providing a moment of possibility to advance an agenda in musical education as well. If the piano teachers take charge of the education of the new generation, beyond simply teaching them how to play the piano, the classical music tradition in Colombia will grow at the same time that high quality music will be provided around the world to play.
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Livshits, Mark Lionel. "THE FIRST PIANO CONCERTO OF JOHANNES BRAHMS: ITS HISTORY AND PERFORMANCE PRACTICE." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/463222.
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Music PerformanceD.M.A.
In recent years, Brahms’s music has begun to occupy a larger role in the consciousness of musicologists, and with this surge of interest came a refreshingly original approach to his music. Although the First Piano Concerto op. 15 of Johannes Brahms is a beloved part of the standard piano repertoire, there is a curious under-representation of the work through the lens of historical performance practice. This monograph addresses the various aspects that comprise a thorough performance practice analysis of the concerto. These include pedaling, articulation, phrasing, and questions of tempo, an element that takes on greater importance beyond just complicating matters technically. These elements are then put into the context of Brahms’s own pianism, conducting, teaching, and musicological endeavors based on first and second-hand accounts of the composer’s work. It is the combining of these concepts that serves to illuminate the concerto in a far more detailed fashion, and ultimately enabling us to re-evaluate whether the time honored modern interpretations of the work fall within the boundaries that Brahms himself would have considered effective and accurate.
Temple University--Theses
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Yoon, Hyekung. "An Introduction of Carl Vine’s Three Piano Sonatas with Emphasis on Performance and Practice Suggestions for Sonata No.2 (1997)." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1291218628.
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Lundtvedt, Natalya V. "Rachmaninoff and Russian pianism performance issues in the Piano concerto in C minor, opus 18 / by Natalya V. Lundtvedt." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1581455111&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Lopes, Maria João Guerra. "Report of the supervised teaching practice held at the Conservatório Regional de Évora - Eborae Música: attitudes and motivation in learning the piano." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29947.
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This is a report of the modules of Supervised Teaching Practice 1 and 2, part of the
Master of Music Teaching´s syllabus of the Universidade de Évora; followed by an
investigation section, deliberating on the theme of Attitudes and Motivation in Learning the
Piano. The responsibility of the Master´s student was to analyse and comprehend the
educational context of the students, their learning objectives and the teacher´s assessment
criteria and instructive prospect throughout a whole school year, from September 2019 to
July 2020. In this context, it is asked of the Master´s student to attend and teach six student´s
instrumental lessons, and assist in other pertinent activities in a Music school. To gather as
much input and data possible from the lessons, the Master´s student utilized a diary of
personal observations. The focus is on the correlation between attitudes and motivation. To
better understand the connection between these two elements, a thorough expound is made
on the significance of each element. As a conclusive bind, motivation and attitudes, of the
observed students, are intertwined to answer the following research question: Through the
analysis of attitudes, how does motivation fluctuate during a piano lesson; Resumo:
Título: Relatório de Prática de Ensino Supervisionada realizada no Conservatório
Regional de Évora – Eborae Música: Atitudes e Motivação na Aprendizagem do
Piano
Este relatório é referente às disciplinas de Prática de Ensino Supervisionada 1 e 2,
integradas no programa do Mestrado em Ensino de Música da Universidade de Évora; seguido
de uma secção de investigação sobre o tema de Atitudes e Motivação na Aprendizagem do
Piano. A responsabilidade da Mestranda era analisar e compreender o contexto educacional
de alunos, os objetivos de aprendizagem, os critérios de avaliação e o planeamento do
professor cooperante, ao longo de todo um ano letivo, de setembro de 2019 a julho de 2020.
Neste contexto, era requerido que a Mestranda atendesse e lecionasse aulas instrumentais
de seis alunos, e assistisse a outras atividades pertinentes numa escola de Música. Para obter
o máximo de dados possíveis das aulas, a Mestranda utilizou um diário de observações
pessoais. O foco está na ligação entre atitudes e motivação. Para entender melhor a conexão
entre estes dois conceitos, uma exposição é feita sobre o significado de cada um. Para atingir
conclusões, a motivação e atitudes, dos alunos observados, interligam-se para responder à
seguinte questão de pesquisa: Por meio da análise das atitudes, como é que oscila a
motivação durante uma aula de piano
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O'Neill, Alice Ann M. "Parent as home teacher of Suzuki cello, violin, and piano students observation and analysis of Suzuki method practice cessions /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070376603.
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Thesis (D.M.A.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains x, 99 p.; also includes graphics (some col.) Includes bibliographical references (p. 96-99). Available online via OhioLINK's ETD Center
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Pitfield, Spencer Simpson. "British music for clarinet and piano 1880-1945 : repertory and performance practice." Thesis, University of Sheffield, 2000. http://etheses.whiterose.ac.uk/6040/.
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This thesis is a study of British music for clarinet and piano composed between the years 1880 and 1945. The research has established a considerable repertoire of pieces, many of which are completely unknown to clarinettists today. There are two types, sonatas and character pieces. The discussion focuses on a number of substantial works. The sonatas by William Henry Hadow, William Henry Bell, George Frederick Linstead and Roger Fiske have been published (2000) in connection with this study, and critical analyses of the sonatas by Hadow and Fiske are included in the thesis, as are analyses of 'character' pieces by Richard Henry Walthew and Joseph Charles Holbrooke. It is the author's opinion that many of the works discovered demand close attention from contemporary performers. The thesis includes chapters on the British social background and its effect on musical activity; on Brahms's influence; on instruments and on the British playing tradition. The Brahms/Mohifeld relationship was probably the single most important element in establishing a strong clarinet culture in Britain at the turn of the 20th century. Native compositions were extremely popular throughout the period and indigenous performers achieved high levels of technical and artistic ability. The research noted a gradual swing away from the 'simple-system' towards the 'Boehm-system'. However, neither system dominated the other and throughout the period many disparate instrumental systems were in use in the British Isles. A chapter on performance practice draws upon evidence from early recordings. Playing before 1900 was regimented and exact in execution. After the turn of the 20th century there was a move towards freer, less restricted playing. This culminated in the outstanding playing of Reginald Kell. His refinement and artistry were unsurpassed by any other native performer of the period.
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Vizcarra, Juan Guillermo. "Critical Study of Two Piano Transcriptions by August Stradal and the Transcriptions’ Sources: Alterations to the Score Based on Historical Evidence and Artistic Judgment." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801932/.
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The fact that a number of pianists of the past two centuries adapted, embellished, and rearranged piano works for performance, be these original works or transcriptions, has been well documented throughout history. This thought, in addition to the fact that Stradal’s scores needed revision, encouraged me to make alterations to Stradal’s transcriptions and served as a strong incentive to write the current study. In it, I will comment on the alterations performed to segments of Stradal’s piano transcriptions of Wagner’s Schluβ der letzten Aufzuges (End of the last Act) from Siegfried and Trauermusik aus dem letzten Aufzug (Siegfried’s Funeral March) from Götterdämmerung. These changes have the purpose of reflecting in the piano as closely as possible the sonorous reality of the transcriptions’ operatic sources and, by doing so, making Stradal’s arrangements more effective for performance.
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Farias, Eldia Carla. "CREATIVE TREATMENT OF FOLK MELODIES IN SELECTED CIRANDINHAS AND CIRANDAS OF HEITOR VILLA-LOBOS." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/48.
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This study provides a comparative analysis and performance suggestions for three Cirandinhas and three Cirandas for solo piano by Heitor Villa-Lobos in order to demonstrate their aesthetic and pedagogical value. The primary objective is to argue for the significance of the Cirandas as concert works and of the Cirandinhas as didactic ones. To better explore these two sets of pieces and their interconnections, the selected Ciranda-Cirandinhas pairs are all based on the same folksong theme. Thus, the analyses also demonstrate Villa-Lobos’s desire to represent Brazilian culture through his music and the ingenuity with which he treated the same melodic material within performative and pedagogical contexts. Heitor Villa-Lobos is recognized as the most significant creative figure in twentieth-century Brazilian art music and as one of the distinguished Latin American composers to date. His distinctive compositional style represents a thorough synthesis of influences from European art music with the African, Indo-American, and cosmopolitan urban idioms of Brazilian vernacular music. Villa-Lobos’s output comprises more than 2000 compositions in a wide variety of genres: symphonies, concertos, operas, chamber music, art songs, and solo piano music. Throughout his career, he was a devoted supporter of music education for young people and of the development of a distinctively Brazilian art-musical tradition. The Cirandinhas and Cirandas represent an intersection of these two concerns. This study will be meaningful to both performers and piano teachers, whom it will encourage to include Villa-Lobos’s works within their concert repertory or teaching curricula. The document includes an introduction, a brief contextualized biography of the composer, a comparative analysis of the selected Cirandinhas and Ciranda with performance suggestions that touches on stylistic, pedagogical, and technical features of the pieces; a conclusion; appendices that include a chronological list of Villa-Lobos’s piano works and the titles and translations of all the Cirandinhas and Cirandas; and a bibliography.
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Popa, Ana Sorina. "You become what you practice: application of Tai Chi principles to piano playing." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12593.
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Thesis (D.M.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.This work explores the interface between Eastern philosophy, body mechanics, mental attitudes and breathing patterns found in the practice of Tai Chi Chuan, and the Western approach to piano playing. Through a thorough process of integration, the application of the principles learned in the practice of Tai Chi Chuan leads to an optimization of expression in piano playing and a clear path for rehabilitation from injury. Chapter 1 discusses the general philosophical, cultural and scientific environment in which the Western pianist develops. Chapter 2 shows that this environment gifts the pianist with a set of inherited assumptions which lead towards injury. Chapter 3 presents a summary of salient points about Chinese philosophy, art and medicine, and their embodiment in the martial art of Tai Chi Chuan. Chapter 4 discusses the application of Tai Chi principles to piano playing through training methods that include both static and moving postures, alone or during partner interactions; it also includes observations about breathing. The work concludes with a commentary on pedagogy and retraining.
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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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Choi, Hanna. "Documenting developing performance : rethinking Nikolai Medtner at the piano." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/16528.
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This research illustrates the performer-researcher's artistic process of reaching an understanding of music through performance, and explores how an effort to understand music at the instrument and in the context of music-making could influence our critical evaluation of the music. Engaged in the process of learning music, I seek to document my artistic practices as a reflective practitioner: to open up the performer-researcher's workspace, communicate the performativity of the music, and reveal my embodied doing-thinking as a performer. By involving in the performer-researcher's physical and intellectual trajectory, the focus of musicological research could be shifted from the study of music as writing to a practice-based study that communicates and values music as performance. This shift provides a chance to rethink musical works at the piano and place the music in a context in which music can be understood, communicated, and valued through performance. This has the potential to shed light on the performative value of music, and may challenge the existing critique of musical works by emphasising the centrality of musical performance in the realm of music research, perhaps revealing what has been neglected by the text and outcome-focused approaches to music. I believe this could lead us to assess musical works in a different value system by considering the music in and as performance.
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Liu, Cha-Lin. "Performance practice issues in Piano sonata no. 3 in F minor op. 5 by Johannes Brahms." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Hu, Shu-Chen 1968. "How to Practice in an Efficient Way." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.
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Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.
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Lynn, Mark J. "The Avatar by Steve Rouse: A Performance Practice Guide." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31541/.
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The Avatar for trumpet and piano by Dr. Steve Rouse is one of the most challenging compositions in the trumpet repertoire. Due to The Avatar's challenges and increasing popularity, a study is necessary to aid its performance. Each movement is performed on a different instrument: Bb piccolo (with an optional A piccolo part) for Nativity, Bb Flugelhorn for Enigma-Release and Bb trumpet for Rebirth. In addition, the performer must convey one of the work's possible programmatic meanings: (1) The Hindu belief of an Avatar and its life cycle, (2) the life of Christ or (3) the human lifecycle. Chapter 1 gives historical information about the work. Chapters 2-4 discuss each movement of The Avatar programmatically and pedagogically. Facets of each movement are analyzed including differences in programmatic choices, rehearsal techniques and sound concepts. Chapter 5 provides recording suggestions, including choosing a recording engineer, preparing and planning for a recording section, choosing a venue and the benefits of hiring a tonmeister.
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Kovács-Mazza, Jolán. "Analysis of parent-child interactions in home practice sessions of elementary-aged piano students." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36975.
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Nineteen mothers of elementary-aged (5--12 years old) piano students were videotaped once a week supervising their children's piano practice at home for three consecutive weeks. Children were assigned a new piece to work on one week prior to the commencement of the study. A 12-minute segment from the 57 practice sessions (19 parent-child pairs, across 3 practice sessions) was viewed three times by the investigator and by two expert piano pedagogues: one time to record parent behaviors, a second time to record child behaviors, and a third time to note the parent and child's practice approach and to rate the effectiveness of the practice sessions. Three piano pedagogues also rated the quality of each child's uninterrupted performance. Mothers recorded in a practice log the amount of time they spent assisting their children. At the conclusion of the treatment period, the investigator interviewed mothers and children individually.The main results of the study were as follows: (1) mothers were more likely not to show any observable behavior during their children's practice session than they were to show any specific behavior; (2) the majority of time in practice sessions was spent playing the instrument without any verbal or physical interruption; (3) children frequently practiced without any specific structure in their practice procedure, nor with any specific directives from their mothers; (4) mothers with little or no musical training practiced more efficiently with their children than did mothers who had a moderate to high level of musical training; (5) the children of mothers who had little or no musical training received higher performance ratings than the children of mothers who had a moderate to high level of musical training; (6) high performance quality ratings were associated with high ratings for practice effectiveness; (7) longer practice times resulted in higher performance quality ratings; (8) longer practice times were associated with more efficient practice sessions; and (9) 85% of children said that they enjoyed practicing with their mothers.
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Shimizu-Grow, Rina. "Selected Original Piano Solo Works of Robert Boury: Emphasis on Performance and Practice Suggestions." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1322055700.
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Jeong, Sejeong. "A Performer's Guide to the Prepared Piano of John Cage: The 1930s to 1950s." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin155239910934567.
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Jiang, Hua. "Three Nocturnes for Piano by Jackson Berkey: An Analysis and a Study in Performance Practice." Diss., North Dakota State University, 2017. https://hdl.handle.net/10365/26506.
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This dissertation explores three nocturnes for piano composed by Jackson Berkey. Chapter one and two present a biography of Jackson Berkey and his thoughts about music. Only limited information is available concerning Mr. Berkey?s musical career and his piano music in written form or on the internet, but two one-on-one interviews with the composer provided valuable supplementary information for this study. In order to view Berkey?s nocturnes within the historical context of the nocturne genre over the past 200 years, chapter three provides a brief historical overview of the nocturne. Chapter four is an analytical discussion of three of Berkey?s 24 nocturnes: No. 13 in F-sharp Major: Homage to Robert Schumann; No. 20 in C Minor: Music in the Night; and No. 22 in G Minor (no subtitle). Analytical considerations are melodic, motivic, harmonic, and structural. After grouping Berkey?s 24 Nocturnes into three title-based categories, I selected one nocturne from each list for analysis. The three categories are grouped according to three title formats: homages to composers and poets identified by subtitles; those with descriptive titles; and those simply titled ?nocturne.? Chapter five examines Berkey?s interpretive indications regarding pedaling, dynamics, and tempo. Final conclusions and closing remarks comprise chapter six. These three Nocturnes will provide a broad-based introduction to Berkey?s compositional techniques and to his unique musical language, all of which serve to broaden the stylistic traditions of the nocturne genre. Another goal of this study is to demonstrate compositional and pianist validity within Jackson Berkey?s 24 nocturnes as new pedagogical and performance alternatives to traditional nocturne repertoire.