Academic literature on the topic 'Piano trios – Scores and parts'

Introduction. The article analyzes R. Schumann’s “Fantastic Pieces” op. 88 as a creative debut in the subsequent development of the piano trio genre. The “Fantastic Pieces” op. 88 are the first composer’s creative experience in combining such musical instruments. Theoretical Background. The analysis of musicological literature did not reveal any special research dedicated to this score, but only its references in E. Karelina’s (1996) thesis research and D. Zhitomirsky’s (1964) monograph. Thus, this article is the first special research of the compositional and ensemble analysis of R. Schumann’s “Fantastic Pieces”, op. 88. The objectives of the research: to analyze compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88, to identify their specific features. The object of the research: R. Schumann’s chamber-instrumental creative activity. The subject of the research: to identify the value of R. Schumann’s “Fantastic Pieces”, op. 88 in the further development of the piano trio genre. Methods: musical-theoretical, aimed at analyzing the musical text of the chosen work; genre-stylistic, allowing to identify the compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88. Research material: R. Schumann’s “Fantastic Pieces” op. 88 for piano, violin and cello. Results and Discussion. The first experience in mastering the piano trio genre of R. Schumann occurred in the “Fantastic Pieces” op. 88, composed in 1842. This was the first composer’s experience in combining such musical instruments. This work is a cycle of four pieces: “Romance”, “Humoresque”, “Duetto” and “Final”. It is noteworthy that R. Schumann used these names in other works. It is useful enough to recall his 3 piano romances op. 28, Humoresque op. 20a, 4 marches op. 76. Despite the four-part character of the work, this composition does not coincide with the sonata-symphonic structure, but is organized according to the suite principle. R. Schumann’s different vision of the trio-ensemble genre is represented by a clear differentiation of works with an individual composition. Therefore, the cycles op. 88 and op. 132 receive program names: “Fantastic Pieces” and “Fairytale Narratives”, respectively, and the trio with the classical (sonata) organization of the cycle acquire sequence numbers and are referred to as “piano trios”. The very names of the parts in the cycle reveal the opposition of two metaphoric spheres, characteristic of the romantic era: lyrical and genre-scherzo ones. The paired relationship of these metaphoric spheres stands out particularly. Such a metaphoric doubling gives the matching modes the rondality features within the whole cycle. This metaphoric paired relationship between the parts allows you to single out two macro parts in a cycle. The first macro part is represented by the lyric “Romance” and the scherzo “Humoresque”, the second one – by the tender song “Duetto” and the marching “Final”. At the same time, the macro parts demonstrate individual features of one or another semantic type. The metaphoric opposition of romantic pieces is also enhanced by tempo and ear-catching contrast. Such an alternation of various metaphoric types gives the entire cycle the features of a kaleidoscopic suite. The proportion of genre parts stands out particularly, which is manifested in both their scale and complexity of the compositional organization. Thus, the lyrical parts are represented by tripartite forms. Quick genre pieces are composed in various forms (“Humoresque” is created in a complex tripartite form with a developed polythematic middle part, and the “Final” is in a rondo form, with the links acting as refrains). Despite the romantic nature of the cycle organization, the “Fantastic Pieces” tone plan is a classical one: a-moll –F-dur– d-moll – a-moll (A-dur). Conclusions. It was revealed that the suite-based principle of composition organization and genre-stylistic features of the cycle (opposition of lyrical and genre-scherzo metaphoric spheres) connect the romantic “Fantastic Pieces” op. 88 with its piano miniatures of the 1830s. Ensemble analysis of R. Schumann “Fantastic Pieces”, op. 88 showed that in his first work for the piano trio, the composer “transplanted” solo piano works into a poly-timbre ensemble, taking it in the context of piano music. At the same time, the composer did not reduce the role of strings to the “service” function, but actively used all their melodic and proper ensemble possibilities in the chosen trio. For example, if “Romance” ensemble demonstrated the piano domination, “Humoresque” – the parity of the instruments, then in “Duetto” primacy was given to stringed instruments. In “Final”, each section of the musical form is highlighted by an appeal to one of the main ensemble techniques. A series of altering various semantic spheres, defining the suite properties of the “Fantastic Pieces”, subordinates the ensemble properties used by the composer. For each number and even its individual sections, their special complex was chosen, which in different semantic contexts had a metaphoric-semantic meaning. It was revealed that the organizing means of creating the ensemble in the R. Schumann’s trio was the polyphonic technique presented in his work in a wide variety, which would later be widely developed in his piano trios.

This article analyzes the historical and cultural background of F. Schubert’s achievements in the field of chamber vocal music, in particular, in correlation with the vocal and piano parts. We are talking about the fact that the basis of Schubert’s Lied are the traditions of German and Austrian folk songs, the work of minnesingers, meistersingers, predecessor composers. Reliance on folklore determines the intonation, the rhythmic and structural patterns of Schubert’s songs. The influence of the masters of minnesang and meistersang is felt in the harmony and composition logic of the Austrian genius. The legacy of Mozart and Beethoven is especially close to the romantic achievements of Schubert. In the chamber-vocal music of these Viennese classics are used different types of correlation between the vocal and instrumental music scores: accompaniment prevails according to the principles of the general bass, but there are already some examples of relative independence of the music score ensemble. There appear instrumental introductions, conclusions, interludes. The texture of the piano part is diversified according to the types of presentation, and contains an imitation of the sounds of nature.

Background. The muscles related to piano practice are mainly concentrated in the fingers and upper limbs, and the muscles related to other parts of the body are weak. Compared with other sports injuries, the injuries caused by piano practice are mainly chronic injuries caused by long-term strain of the upper limbs, and acute injuries rarely occur. The purpose of this study was to analyze the therapeutic effect of hand muscle injury caused by piano practice. Method. A total of 60 patients with hand muscle injury caused by piano practice admitted to our hospital from January 2019 to June 2020 were selected. According to the number random grouping method, they were randomly divided into two groups. There were 30 patients in the observation group, including 20 males and 10 females, aged 24-53 ( 39.51 ± 7.01 ) years old, and the course of disease was 1-5 ( 3.24 ± 1.62 ) months. In the control group, there were 30 patients, including 18 males and 12 females, aged 24-56 ( 39.62 ± 7.17 ) years old, and the course of disease was 1.5-5 ( 3.14 ± 1.71 ) months. If the observation group experienced excessive pain, the group took ibuprofen sustained-release capsules. On weekdays, exercise your fingers 2-3 times per day. After the intervention, the wrist joint function score of the observation group was higher than that before the intervention. Results. Before treatment, there was no significant difference in pain level scores between the two groups ( P > 0.05 ). After treatment, the limb pain score in the observation group was lower than that in the control group. The effective rate of hand tendon rehabilitation in the observation group was 93.33%. The effective rate of hand tendon rehabilitation in the control group was 70.00%. The comparison results showed that there was statistical significance ( P < 0.05 ). The score of the observation group was significantly higher than that of the control group, with statistically significant differences ( P < 0.05 ). Conclusion. Piano workouts can cause hand muscle difficulties, which can be alleviated by daily finger gymnastics. Daily finger exercises are simple and not limited by time and place. Piano practitioners can use the spare time of daily training and performance to exercise for a long time, so as to prevent or recover finger muscle damage caused by piano practice. It has the potential to help pianists avoid hand muscle injuries when practicing while also allowing music to reach its full potential.

Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensamble, composing procedures and use of musical expression elements, their purpose, and finally, their artistic range and significance. Created at the time of predominance of small, chamber music forms, especially solo songs, piano miniatures and reveilles, Livadić’s masses, among a multitude of works of the composers of the time, and especially within the Croatian church musical heritage, mean the continuity of a multi-Century tradition of that music genre. While Missa croatica pastoralis is related to the pastoral (folk) one voice masses with the organ accompaniment (with inserted text/extensions of the Kajkavian dialect), the concerto vocal-orchestral Missa in C, with its musical features and its base on the international music vocabulary, manifests a compound of Classicist simplicity and early Romantic lyricism, representing the essence of Livadić’s creativity in the area of sacral music.

The article examines the phenomenon of emotions as one of the leading patterns of creation of the vocal score of the singer-actor, the communicative intermediary between the composer, the librettist, the singer-actor and the listener-viewer. Opera as a synthetic art unites together music, poetry, production, scenography, the art of face-paint and costumes. By means of melody, its rhythmical and intonational texture builds up and ciphers those emotions which the singer must arouse from the listener-viewer. Frequently composers in the piano-vocal scores of their operas have provided descriptions of the stage settings, as well as nuances of stage motion and plastic, in order to bring out emotional colors to a greater degree by means of pantomime. In such situations it is important to research the means of operatic expression not merely from the point of view of musicology or theater studies. The phenomenon of opera requires study in a direct connection with psychology, physiology and sociology of culture. The authors of the article update the concept of the emotional score of the vocal parts of the operatic composition presenting a completed form from the positions of psycho-physiology of emotions and emphasizing the importance of its examination. The vocal part of Herman from Tchaikovsky’s The Queen of Spades is chosen as the object of studies.

A simple reason to make Dimitar Nenov’s Four sketches for a symphonic orchestra part of the curriculum is their high artistic value. Even though they are a comparatively early opus, the Sketches were written with respectful professionalism and impress listeners with the impact they make. Another significant consideration that makes working on Four sketches for a symphonic orchestra scores in the orchestra-conducting classes especially valuable and useful, is the opportunity for the trainees to get to know the work better and acquire important conducting skills. The process of analyzing and perceiving a work of music from the viewpoint of its interpretation, in this case – from the point of view of preparing oneself for interpreting it in academic work with the help of a pedagogue and an accompanist, is radically different comparing it to the process of listening to it recorded or in a live performance. A conductor’s approach to this process enables him to delve into making the work from the point of view of the following: - deep consideration of the structure of the cycle; - understanding the inner links between separate parts; - building a unique set of the images in a single sketch. At the same time, the manual work on the composition helps one to develop important conducting skills like a - sense for processional dynamics; - good initial selection of tempos; - clear conveying of even the minutest changes of tempo; - simultaneous manual presentation of contrastive dynamics in various orchestral layers; - clearly differentiated strokes; - sense for artistic measure in order to portion various musical tools of expression in compliance with the inner logics of using them. Solving the overall performer’s and particular manual issues with the help of the teacher contributes for the comprehensive professional development of the students.

In the monograph Mosaic of Memories, Snežana Nikolajević presented the life and work of Zoran Hristić, a composer, radio and TV editor, music writer, a man who loved art, family, people, socializing. His work and life were inspiring to look at from different aspects – both biographical and musicological. The author of the monograph and the composer had an extremely harmonious, friendly and collegial relationship that resulted in wonderful texts, compositions, dedications, interpretations, shows. Therefore, it is quite natural that Zoran Hristić wanted, and Snežana Nikolejvić realized in an original, but above all interesting, accessible and interesting way, a monograph that will be interesting to both music professionals, music students, as well as art lovers and Zoran’s admirers, of which there were many. Through chapters with the titles: piano, orders, highlights, stage, screen, radio, roots, attitude, coda, we follow the chronology of Hristic’s life and professional path, along with honest, warm statements of friends and associates. The following spoke about Zoran: pianist Vesna Kršić, theologian Dragan Vukić, violinist Jovan Kolundžija, choreographer Slavko Pervan, composer, arranger, instrumentalist Slobodan Marković, Marija Ćirić, music theorist, sound engineer Zoran Jerković, traditional flute player Bora Dugić and dentist Gordana Lazarević, Zoran’s life companion during the last years. In addition to the textual material, which in a natural flow leads from the description of life events, periodization and chronological events to musicological analyses, valuable material is represented by photographs from a private archive as well as parts of sheet music, Zoran’s texts, synopsis and manuscript scores. In the coda of the Mosaic of Memories, there is a clear conclusion that Zoran Hristić had a rich, meaningful and successful life, and endowed with talent and beauty, he was ready to enjoy it.

In order to explore and analyze the effect of music therapy interventions on college students with excessive anxiety, this paper selected 240 year 2017- to year 2020-enrolled undergraduates from a comprehensive university in Taiyuan City, Shanxi Province, in Central China as research objects. These college students had been diagnosed as excessive anxiety and were randomly divided into two groups—intervention group and control group—with 120 students in each group. The control group received conventional mental health treatment for college students, while the intervention group received music therapy interventions on this basis with 3 times a week for 24 times. The instruments used in the music therapy include piano, percussion instruments, melodic instruments, and diffuse instruments; the specific implementation of each therapy is divided into five parts: warm-up, rhythm percussion, song singing, instrumental ensemble, and music appreciation. The study results show that before treatment, the excessive anxiety score of college student in the control group was 63-76 with an average score of 72.58 ± 5.27 ; after treatment, that was 45-64 with an average score of 54.46 ± 6.82 ; before treatment, the excessive anxiety score of college student in the intervention group was 62-78 with an average score of 72.56 ± 5.51 ; after treatment, that was 26-44 with an average score of 33.19 ± 5.51 . Before treatment, there was no significant difference in the excessive anxiety scores between the two groups of college students ( P > 0.05 ); after treatment, the excessive anxiety scores of the two groups were lower than those before treatment, and the reduction degrees in the intervention group were bigger than those in the control group, with statistically significant difference ( P < 0.05 ). Therefore, music therapy interventions can significantly reduce the excessive anxiety of college students; the analysis also shows that factors such as gender, grade, major, origin, repertoire type, therapy type, and anxiety type could affect the effect of music therapy interventions to some certain extent. For example, the effect of music therapy interventions on college students in psychology or related majors is better than that of students in other majors; the effect of receptive music therapy is better than that of creative and improvised music therapy; the effect of music therapy interventions on college students’ life event, romantic relationship, and social anxiety is better than that on college students’ test and job-hunting anxiety.

Statement of the problem. Since the 18th century, oriental theme have been firmly established in French classical music . Camille Saint-Saëns (1835–1921) did not miss it in his vocal cycle “Persian Melodies” for voice and piano op. 26 (1870), which he transformed later into a picturesque symphonic canvas “Nuit Persane” op. 26-bis (1891). The very fact of such a transformation cannot fail to arouse research interest, especially since the score became not just a vocal-orchestral version of “Persian Melodies”, but acquired features of spectacular theatricality. If the early period of the composer’s work was marked by such significant achievements as Piano Quintet (1855), Christmas Oratorio (1858), Piano Trio No. 1 (1863), Introduction and Rondo-capriccioso (1863), Piano Concerto No. 2 (1868), numerous mélodies and sacred motets, then with the outbreak of the FrancoPrussian War (1870–71), the composer’s productivity decreased. It is indicatively that in 1870, when he wrote only a few compositions, “Mélodies Persanes” was among them. What significance, in the context of the composer’s creative evolution, was his appeal to the images of the East? How exactly does he reveal the oriental theme? Elucidation of this question, along with the study of the author’s style of C. Saint-Saëns, became the purpose of our research. Objectives, methods, novelty of the research. The following tasks were implemented: the main facts from the history of creation, first performances, sheet music publications of “Mélodies Persanes” and “Nuit Persane” were summarized; A. Renaud’s poems, which became the poetic basis of these works, were translated; the form, intonation structure and logic of harmonic development in each of the numbers of the Cantata were analyzed; the semantic constructions and the features of the musical dramaturgy of the work were characterized; and specific details of the orchestral writing were revealed. For analyzing the work, historical, genre and style, structural and functional, comparative, and systematic research methods were used. The vocal cycle “Mélodies Persanes” (the “prototype” of the Cantata) has attracted some research attention (Noske,1954; Ladjili, 1995; Johnson, 1997; Zeng Tao, 2016; Bertaux, 2021). There are significantly fewer studies of the cantata “Nuit Persane” op. 26-bis. One of the first reviews belonging É. Baumann (1905) emphasizes the difference between the Persian and the African Orient. Some research aspects are covered in the text materials dedicated to the 2007 CD edition of the Cantata. Y. Gérard (2008) provides valuable facts from the history of the work, while W. Yeoman (2008) focuses more on its musical construction. H. Macdonald draws the parallels with “The Damnation of Faust” by H. Berlioz and come to conclusion that a number of C. Saint-Saëns’ works “evoke the Muslim world, but none with more potency than Nui Persane”(Macdonald, n.d.). The mentioned materials leave considerable space for further, more in-depth research into the score by C. Saint-Saëns, including the reproducing the oriental flavor in it, which determines the novelty of our study. Research results. The first decades of C. Saint-Saëns’ composer work (1850s–1860s) marked by the creation of the outstanding chamber-vocal compositions, such as “Rising of the moon”, “Waiting”, “The Bell”, “The death of Ophelia”, “Moonlight”, “Sadness”, “The song of those who set sail upon the sea”. The song cycle “Mélodies Persanes” (1870) became a worthy continuation of previous successes. C. Saint-Saëns turned to the collection of poems “Les Nuits Persanes” (1870), created by his friend A. Renaud (1836–1895). Each of the six mélodies (“The Breeze”, “Empty Splendor”, “The Lonely Woman”, “Sword in Hand”, “In the Graveyard”, “Spinning”) is dedicated to a particular person – P. Viardot, M. Trélat, A. Holmès, H. Regnault, E. Jadin, L. Pagans. In the spring of 1891, C. Saint-Saëns decided to rework the song cycle. At the request of the composer, A. Renaud wrote a scenario for new version. The score was created in Algeria from November 21 to December 16, 1891. In addition to two soloists (contralto, tenor) and a symphony orchestra, a choir and a narrator were included into the score. The new work was called “Nuit Persane” ор. 26-bis and actually became a cantata, despite the absence of a genre designation on the title page of the score. From the very beginning, the features of the plot were laid in the “prototype” – the song cycle op. 26. In our opinion, it was the reason for the processing into a cantata, and not into a orchestral setting, like “Summer Nights” (1841) by H. Berlioz, or “Songs of a Wayfarer” (1884–85) by G. Mahler. Soon after the Cantata was written, some its fragments were performed at the concert on February 14, 1892 (Théâtre du Châtelet, Paris) conducted by Édouard Colonne. The performing was so good that the work was repeated the following week. The orchestral and piano scores were printed in 1893–1894; these editions were decorated with exquisite illustrations by G. Clairin, C. Saint-Saëns’s friend. The cantata was fully performed on January 3, 1897 by the Société des Concerts du Conservatoire. The critics and the audience took it very favorably. The cantata includes five of the six romances of “Mélodies Persanes” (without “Empty Splendor”, but with partial use of this musical material), and two new movements (“Flight” and “Swans”). Therefore, a total of seven movements were formed into four parts. Each part is preceded by the orchestral prelude with the narrator telling about the upcoming events. Conclusion. The cantata “Nuit Persane” combines emotional spirituality with the compositional skill, which made it possible to achieve significant expressiveness with a fairly economical use of musical means. The leading constants of C. Saint-Saëns’ style are clearly revealed in the sophistication of the writing, variety and detail of the design of this score. Regarding the specific melodic-harmonic, modal, rhythmic elements, the analysis of the work revealed a fairly dosed use of them, that testifies a moderate tribute to orientalism. As a result, there was a musical narrative about the events in the East, but still on behalf of the European C. Saint-Saëns.

My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.

Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.<br>submitted by Tang Pan-hang Benny.<br>Thesis submitted in: December 1997.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Abstract --- p.i<br>摘要 --- p.ii<br>Acknowledgment --- p.iii<br>Declaration --- p.iv<br>Introduction --- p.1<br>Trombone Concerto (first movement) --- p.2<br>Programme notes --- p.3<br>Remarks --- p.5<br>Instrumentation --- p.6<br>Seating Plan --- p.7<br>Scores --- p.8<br>Post-Zero 零後 --- p.56<br>Introduction --- p.57<br>Programme notes --- p.57<br>Performance direction --- p.61<br>Instrumentation --- p.62<br>Seating plan --- p.62<br>Scores --- p.63<br>"Trio for Flute, Violin and Cello No.2" --- p.144<br>Programme notes --- p.145<br>Performance direction --- p.145<br>Scores --- p.146<br>Biography --- p.159<br>Music Works List --- p.160

The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Volcanicity "Yuan, shi" : for sheng and Chinese orchestra.<br>Tang Lok-yin.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 2006.<br>Librettos (1st work) in English ; abstracts in English and Chinese.<br>Chapter Composition 1 --- "The Giving Tree for Soprano, Tenor, Violin, Cello and Piano"<br>Chapter Composition 2 --- Duo (琴 II 曲〉 for 2 Harmonicas<br>Chapter Composition 3 --- Clarinet Duet for Clarinet and Live Electronics<br>Chapter Composition 4 --- Playing Game for Orchestra<br>Chapter Composition 5 --- Sculpture II {{214753}塑二〉 for pipa and Chinese Orchestra<br>Chapter Composition 6 --- Volcanicity 《原´Ø始）for Sheng and Chinese Orchestra

by Lee, Lo Ping Arthur.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1997.<br>Chapter (1) --- "Two Bagatelles for Violin, Cello and Piano (1995)"<br>Chapter (2) --- "Three Scenes for Flute, Oboe, Clarinet in B-flat, Horn in F, Bassoon and Piano (1996)"<br>Chapter (I) --- "Introspection (for Flute, Oboe, Clarinet in B-flat, Horn in F and Bassoon)"<br>Chapter (II) --- Monologue (for Flute Solo)<br>Chapter (III) --- "A Mental Walk (for Flute, Oboe, Clarinet in B-flat, Bassoon and Piano)"<br>Chapter (3) --- """ Dies irae"" for Soprano solo, SATB chorus and Orchestra (1997)"

by Lee Chui Ling.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.<br>Preface --- p.1<br>Chapter I. --- Twinkling --- p.3<br>Chapter i) --- Analysis-----Introduction --- p.4<br>Chapter ----- --- Formal structure<br>Chapter ----- --- Musical elements<br>Chapter ii) --- Score (with performance notes) --- p.8<br>Chapter II. --- Emancipation --- p.14<br>Chapter i) --- Analysis 226}0ؤ Introduction --- p.15<br>Chapter ----- --- First movement ~ Formal structure<br>Chapter ~ --- Orchestration<br>Chapter ----- --- Second movement ~Formal structure<br>Chapter ~ --- Harmony<br>Chapter ----- --- Third movement ~ Formal structure<br>Chapter ~ --- Musical elemets<br>Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25<br>Chapter III. --- Once Upon a Time --- p.105<br>Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106<br>Chapter ----- --- Formal structure<br>Chapter ----- --- Scale<br>Chapter ----- --- Quotation<br>Chapter ii) --- Score (with performance notes) --- p.111

This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each.<br>Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main volume, looking at how each are formed, and comparing their formal characteristics. This involves an analysis of the musical materials and how such materials are treated through repetition and transformation. I will also look at the aesthetic and stylistic concerns and how they inform the formal architecture of each work. An appendix includes the scores of a further ten works, with a brief introductory commentary on each.<br>http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1351235<br>Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Abstract The reconstruction and description of music libraries, whether institutional, commercial, or private, has traditionally been a respected musicological endeavour, and for good reason: libraries apparently open otherwise closed doors onto the aesthetic and performance predispositions of different times, places, and societies. In the case of individual composers, they seem to offer unequivocal evidence for the musical taste, acquaintance, and education of their owners, or to establish putative influence. Mozart figured prominently in nineteenth-century libraries, for both musical and antiquarian interest. Daniel Gottlob Türk, for example, owned copies of the Requiem, the Da Ponte operas, Idomeneo, Die Zauberflöte, the quartets and quintets, several piano concertos, and many of the accompanied and unaccompanied sonatas. Beethoven not only had printed editions of the Requiem, operas, and late quartets, but he also copied out by hand selections from the quartets K. 387 and 464, the Symphony K. 550, the Fantasie K. 608, the Adagio and Fugue K. 426, and the Piano Trio K. 496, among others. Similarly, an 1844 inventory of Mendelssohn’s library lists all the operas of the 1780s, scores of the quartets, and a copy of the ‘Jupiter’ Symphony; he also owned the autograph of the fragmentary sonata movement K. 312. Brahms at one time owned the autographs of the G minor Symphony K 550 and two of the minuets and trios of K. 164.

Back in America, Barber happily focused on composing songs. Drawn to Rainer Maria Rilke’s French poems, he created five songs, Mélodies passagères. When asked, he said that he composed in French because he had fallen in love with Paris. He sang excerpts of the cycle to his friend, composer Francis Poulenc, who confirmed the accuracy of the prosody and admired the songs so much he premiered them in Paris with Pierre Bernac in 1952, which Barber attended as he was there for a meeting of the International Music Council. In 1952, Barber received a commission from the Ballet Society to orchestrate some piano duets he had composed, inspired by his childhood trips to the Palm Court in New York’s Plaza Hotel. Completed in Ireland, the ballet, Souvenirs, included a waltz, schottische, tango, pas de deux, and two-step; it was choreographed and performed by Balanchine, who danced with Nora Kaye, Jerome Robbins, and Tanaquil LeClercq. His love affair with Irish poetry also blossomed during this time, inspiring his most famous song cycle, Hermit Songs, settings of ten poems by Irish monks inscribed on the corners of manuscripts. The cycle was premiered in the Coolidge Auditorium at the Library of Congress by Leontyne Price, with Barber at the piano. This chapter concludes with discussion of Barber’s one-movement orchestral work, Adventure, a television collaboration between CBS and the Museum of Natural History, which is scored for a mixture of recognizable Western instruments and non-Western instruments.

Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.