Literatura académica sobre el tema "Organ music – Interpretation (Phrasing, dynamics, etc.)"

Background. The XIX century presented the world with many wonderful musicians, among them there is Wanda Landowska (1879–1959), a researcher of the musical culture of the past. She is considered as one of the founders of the authentic movement in academic musical art, a representative of the first generation of “historical performers” who returned long-forgotten ancient music to their contemporaries. Landowska’s creativity, whose concerts with historical programs in the early XX century enjoyed extreme popularity, was covered in the press of that time, and, after, in special literature, although, given the world fame of the artist, clearly not enough. The name of W. Landowska is mentioned in passing by her contemporary A. Schweitzer in his famous monograph “J. S. Bach” (Schweitzer, 1965, transl. from German Ya. Druskin, p. 259); the review articles by famous Russian musicians and scientists A. V. Ossovsky (1971) and A. Maikapar (1991) are devoted to her. However, the fundamental studies of all aspects of W. Landowska’s activity are still lacking both in foreign and in domestic musicology. Ukrainian scientists have already taken certain steps in the study of the work of an outstanding Polish artist. G. Kurkovsky (1983) highlights the performances of a harpsichordist in Kiev, analyzing her repertoire. As a participant in concerts of the Imperial Russian Music Society, between 1907 and 1911 W. Landowska performed with constant success in Ukraine, not only in Kiev, but also in Odessa and Kharkiv. The researches by N. Svyrydenko, which appeared in the last decade (2010a, 2010b, 2017), gives a due assessment of the activity of the outstanding Polish musician in promoting ancient music. However, in general, in publications devoted to the artist, an analysis of the features of her performing style was not given enough attention, as well as her research works and notes. Objectives. This article aims to identify features of the concepts of W. Landowska regarding the performance of ancient music. The research material was, first of all, the notes of the outstanding harpsichordist collected by her student D. Restout; Russian translation by A. Maikapar (Landowska, W., 1991). The results of the study. Landowska is one of the firsts who was involved in the formation of the phenomenon of “early music”. She draws attention to the fact that few of her contemporaries carefully studied the music of the Middle Ages, Renaissance, Baroque. Meanwhile, the musical practice of these eras lays the foundation for the formation of styles and Viennese classicism, and Romanticism, and new music. Working on the interpretation of ancient works, Landowska, first of all, proceeded from the historical context of the era and the general musical meaning. She emphasized the importance of playing music on the instruments of the exact era for which they were written. In her works, Landowska focused on the problems of reproducing ancient music on the harpsichord, namely, on such performance parameters as tempo, dynamics, registration, phrasing, ornamentation. In particular, Landowska presents and parses the tables of F. Couperin, J. Ph. Rameau and J. S. Bach with decipherments of ornamentations, touching in this connection also to issues of improvisation. Landowska laid the foundations of historically informed performing, emphasizing the need for musicians to study the treatises of Р. F. Tosi-J. F.Agricola, J.J. Quantz, F. Couperin, J. Ph. Rameau, L. Mozart, G. Frescobaldi, F. W. Marpurg, С. Ph. E. Bach. Relying on the old treatises, she sought to find a practical solution to the problems of interpreting ancient music precisely on authentic instruments, since the technique and character of the performance largely depend on the construction of the latter. Landowska studied in detail the clavier works of the outstanding harpsichordists F. Couperin and J. Ph. Rameau, and also paid great attention to the issue of the influence of French music on German music. Landowska believed that in order to find the right tempo, high-quality sound, it is necessary to thoroughly study the mechanism of the instrument. We can talk about the “sense of rhythm”, “accuracy and articulation of sound” about “spatial representations” only from the position of the harpsichordist, since the latter can have just different principles of intonation on the instrument and completely different decisions for fingering, than the pianist, due to the different construction of the harpsichord and piano (for example, without the passing of one finger under another). Landowska deals with the main key to ancient music – rhetoric. Increased attention in interpretation should be given to phrasing and breathing, which plays a major role, since each pause, caesura logically share a melodic line. At the same time, rhythmic freedom should not become synonymous with arbitrariness – Landowska’s playing was always distinguished by rhythmic accuracy, with which it conveyed the duration of sounds. “Some phrases within the play require rhythmic changes, while others – do not,” notes the artist (1991, p. 373). Thus, Landowska insisted on a completely different approach to the interpretation of music of past eras compared to what reigned in her time. She believed that turning to the music of masters of the past gives the musician the opportunity to develop a good musical taste and aesthetic feeling, and studying of the theoretical sources of ancient eras – to create a full-fledged idea of ancient music. In order to embody his vision of music in sounds, the performer should have good taste, Landowska insists on this, but it must be connected with knowledge of the material, styles of the past and historical context. Studying old treatises, Landowska made certain conclusions: the technology of playing an instrument is more complex and multifaceted than simply polishing “complex passages”, as it is considered today, and “coordination of thought and fingers” was called “technology” in that time (ibid., p. 150). In general, the artist puts “ears” and “consciousness” above just good finger coordination. The task of an authenticist is more difficult – it’s not enough to have good technique, you need to be able to combine all other performance components: touché, rhythm, breath, agogics, ornamentation, rhetoric, symbolism, sound, timbre, etc. Conclusions. W. Landowska positioned herself primarily as a harpsichordist, popularizing this instrument, although the sound of her harpsichord is still quite far from the sound of a “historical harpsichord”, for example, G. Leonhardt. Nevertheless, the sound of the harpsichord recreated by Landowska made a stunning impression on his contemporaries. As a result, it completely changed the then performer’s and listener’s ideas about ancient music, giving a powerful impetus to a complete revision and rethinking of generally accepted manners of performing and romantic cliché of hearing. Fifty-year-old practical experience of Landowska-harpsichordist is very important for modern performers of ancient music, who strive for its most accurate reproduction, that open the perspectives for further in-depth study of the creative heritage of an outstanding artist.

Problem statement. Musical director’s activity of an opera performance is a complex phenomenon and largely unexplored, in particular, the theoretical aspects of the conductor’s interpretation of the opera have not received a sufficient development in domestic musicology yet. In the theoretical aspect not only the role of the conductor-director, but also co-directors of an opera performance – a director, a choirmaster and others who in cooperation create an artistic image of an opera spectacle is insufficiently investigated. The necessity of exploration of practical issues of the opera’s interpretation for further theoretical generalizations, awareness of specifics of the various performing interpretations determines the relevance of the topic of the offered article. The recent researches and publications by O. Menkov, P. Lando, G. Tkachenko and V. Makarenko emphasize the need of creation of the theory of collective performing, in particular, of the opera works, as well as the conductor’s role as a head of staging process. Admitting all the above, we insist also the necessity of developing a shared position by the all co-creators of the performance (a conductor, a stage director, a choirmaster, a ballet master, a painter and others). The purpose of the study – to reveal the specifics of the creation of the performing interpretation in student’s opera theater on the example of the work of opera studio of the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The methodology of the research includes the interpretive analysis, chosen for understanding and explanation the specifics of the opera performance, as well as retrospective historical observations over the working process in Opera Studio of Kharkiv University of Art on the cusp of the 20th and 21st centuries with followed by generalization. Results. As the research material, the creative activity of the opera studio’s team under the leadership of the People’s Artist of Ukraine, professor of Solo Singing and Opera Training Department of Kharkiv National University of Arts was chosen. During the period since 1989 year to present time about 30 operas were staged in Opera Studio under the leadership of the Maestro. Co-organization persons of the opera studio’s performances were the stage directors I. Ryvina, O. Kolomiytsev, A. Kaloyan, the choirmasters – Honored Arts Workers of Ukraine professor N. Byelik-Zolotaryova (in performances 1989–2008, from 2013 and to present day) and associate professor I. Verbitska (during the period from 2009 to 2012), which also was executed the functions of the conductor of performances of student’s opera theater. The concertmasters headed by professor L. Kucher carried out studying the musical material of operas by students. According to our explorations, the principles of selection of operas for production in the Opera Studio became: art value of the chosen sample; presence of performance stuff among undergraduates of Department of the Solo Singing to create the main and secondary characters; vocal possibilities of young performers (because the opera studio is the student’s opera theater); the material base for creation of sceneries, tailoring the costumes etc.; demand of the chosen sample in opera theaters. For identification of the specifics of production process in student’s opera theater two representative samples were chosen: the production versions of the operas “The love for three oranges” by S. Prokofiev (18.12.1989, the stage director I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter T. Medvid) and “Dido and Aeneas” by H. Purcell (19.11.2001, the stage director O. Kolomiytsev, the head of the opera’s staging I. Ryvina, the choirmaster N. Byelik-Zolotaryova, the painter K. Kolesnichenko), under maestro A. V. Kalabukhin’s conducting. The choice of these opera samples by Kharkiv University Opera Studio brightly demonstrates the essence of its repertoire policy, which is concluded in selection for staging the operas of different styles and directions. The performing conception of the opera “The love for three oranges” was built, on the one hand, on the understanding of this musically-scenic opus as the embodiment of the forms of “conditional theater”, on the other hand – as solution to the problem about essence of art, the theatricalized answer to the question, which it should be. The staging of the first English opera “Dido and Aeneas” by H. Purcell was directed on comprehension and acquisition by students of Baroque stylistics in an opera genre. Conclusions. As features of the staging process in the opera studio, it should be noted, at first, the synthesis of creative and pedagogical orientation in the activities of the producers of performances. So, in the student opera the conductor on rehearsals not only builds the structure of the opera whole, seeking an ensemble between performers-soloists, chorus and orchestra, but also is at work with students upon the technique of sound articulation (breathing, diction, phrasing), upon the emotional and meaning content of music. The rehearsals of young singers with stage directors also have a clear pedagogical orientation, presupposing detailed explanations of both the general line of development of the image and the specific situational details of the behavior of the character in different stages of the opera. An integral part of the artistic and pedagogical process, when creating the performance of the opera studio, the work of professional collectives is: choir and orchestra, which helps the student to enter the atmosphere of a real opera art. In the above successful performances of the Opera Studio of Kharkiv National University of Arts, the choir sound (choirmaster N. Byelik-Zolotaryova) featured a magnificent ensemble, a variety of dynamics, expressiveness of the word, intelligent emotionality, spirituality. Under the direction of A. Kalabukhin and I. Verbitska, the orchestra supported young performers by naturally way, and in solo instrumental episodes it showed the timbre saturation and completeness of expression of a musical thought. In the process of ground work on the performance, one should pay attention to certain organizational moments on which its success depends, namely, the drawing up of a clear schedule of rehearsals depending on the employment of students at lectures and the availability of the own premises for orchestral and stage rehearsals and performances. Given the sufficiently limited number of such rehearsals before the premiere, as well as the pedagogic orientation of student opera performance, it is extremely important to coordinate the actions of all the co-directors of the performances. A conductor, a director, a choirmaster, a painter, a costume designer and others have to adhere to the general artistic idea of the work, which clarified by the way of preliminary joint discussion.

The purpose of the article is to consider the history of creation, existing editions and revisions, as well as performance on various keyboard instruments of Partita No. 1, B-dur, BWV 825, by J.S. Bach, as well as to identify and justify the discrepancies in performance interpretations. The research methodology. Universal (historical and analytical) methods and the following special research methods are taken as a basis. The system-ethnophonic method examines the interaction of the “instrument-performer-music” connection: the features of the instruments' constructions and their acoustic capabilities, the performing complex (playing technique, methods of working with the text, performing schools) and the music performance (the manner of performance). Cognitive and complex approbation methods are based on the fact that the author, as a practicing performer, directly tested the researched material, namely the nature of mastering playing techniques, ornamentation, within the framework of performing practice, conversations and master classes with the largest representatives of the performing tradition (M. Svyrydenko, O. Dmytrenko, B. Billeter, M. Kristeva, S. Levi) and traditions of musical instruments making (D. Titenko). The research material is the records of the most famous performers. Scientific novelty. For the first time, the problem of the possibility and artistic justification (authenticity) of performing a baroque piece of music on various keyboard instruments in today's conditions is highlighted. As an example, the piano Partita No. 1 by J. S. Bach is taken. Existing editions, revisions, musical performances on piano, harpsichord, clavichord, organ were analysed and compared. Conclusions. The following differences in perfomance interpretations were revealed: in the time of performance (which is related to the different duration of the sound on each instrument, although the individual artistic idea of the performer is also important); in the dynamic plan of building compositions: the terrace volume of the dynamics of the harpsichord and the organ opposes the gradual transition from the forte to the piano and vice versa (ascending-descending dynamics) of the piano and clavichord (which is also related to the peculiarities of the structure of the instruments and their dynamic capabilities). At the same time, we observe the unity in the different interpretations of the articulation, agogics and phrasing. Key words: interpretation, Bach, partita, keyboard instruments, piano, harpsichord, clavichord, organ

In this thesis I investigated how four student conductors made musical meaning from their scores in rehearsals with their peers and the mediating role that verbal language played in that process. Rosenblatt's (1978, 1994) transactional theory of the literary work provided a framework for conceptualizing the performed musical work as a musical event. Halliday's (1975, 1978, 1985) social theory of language use, particularly his notion of 'register' served as the framework for interpreting the intended meanings of conductors' utterances during rehearsals, and for understanding the dialogic nature of language use. Vygotsky's (1962, 1978) socio-psychological theory of the interdependence of thought and language framed my interpretation of the kinds of learning that might take place when student conductors use verbal language to shape performances of musical works.
I transcribed 12 videotaped practica, analyzed the transcripts, and interpreted the function and focus of the student conductors' utterances. The findings revealed that the students selected formal and expressive elements for attention, that they used proposals and appraisals to shape these elements in a variety of rehearsal contexts, that they used verbal language to explain, explore, and clarify their musical thinking within and beyond rehearsals.
I concluded that the student conductors built up the sense of the musical work with the players by selectively attending to the musical elements they deemed to be musically valuable, and that their verbal language served a mediating function for them both as shapers and as learners of musical ideas. Although there were qualitative differences how they engaged with their scores, and in their use of verbal language, the processes by which they engaged in construction and comprehension of musical meanings were the same and their verbal language played the same role.
The study led to the postulatation of three socially situated theoretical constructs that are relevant to a general theory of music teaching and learning: a construct of a transactional theory of the musical work, a construct of a 'rehearsal register' and a construct of the interconnectedness of verbal language and the formation of musical concepts and musical knowledge.

The purpose of this study was to develop and test systematically a theoretical model that delineated the constructs and subsumed variables of jazz improvisation performance. The specific research questions were; what specific performance variables are related to single line jazz solo improvisation performance? and; what is the most cogent groupings of variables into underlying constructs which characterize single line jazz solo improvisation performances for all performers, student performers, and professional performers?

This dissertation, which takes the form of a creative project as is sanctioned by the Doctor of Arts Curricular Program, is an investigation of artsong literature, composers and musico-poetic structure. The work is a textbook designed for an undergraduate course in song literature and is accompanied by a performance-based interpretation workbook. The author's approach to the artsong is a threefold one: the artsong is considered as a unique performance idiom and is examined for the characteristics common to all; distinctive features are examined which identify specific sub-genre classifications within the body of artsong; specific artsongs are investigated from a performance aspect in order to develop an appropriate methodology for the interpretation of an individual song. This work includes information about historical analysis, performance practice, translation, phonetic transcription and the characteristics of versification unique to each language covered.The unique contribution of this work, however, is the workbook of sixty-five artsongs.In the workbook, the student is guided through a systematic approach to the interpretive process. The student is asked to examine the poem for type, mode of address and imagery and is asked to consider elements of rhyme, meter and poetic structure. The student is guided through an investigation of the characters both present and implied in the poetry; the student is asked to consider the structural elements of the musical setting in order to better discern the composer's response to the poem. Additionally, the student is asked to place the speaker-the person whose voice he or she is bringing to life-in time and location as well as construct a profile of the speaker's character. At the beginning of the workbook the entire process is demonstrated for the student; as the student progresses through the workbook, he is expected to perform more and more of the tasks until he can independently create a performance-based interpretation.The work contains copious musical examples as well as a source guide to instructional materials (scores, translations, recordings) and a brief glossary.
School of Music

Articulation is an element of musical performance that affects the attack, sustain, and the decay of each sound. Musical articulation facilitates the degree of clarity between successive notes and it is one of the most important elements of musical expression. Many believe that the expressive capabilities of percussion instruments, when it comes to musical articulation, are limited. Because the characteristic attack for most percussion instruments is sharp and clear, followed by a quick decay, the common misconception is that percussionists have little or no control over articulation. While the ability of percussionists to affect the sustain and decay of a sound is by all accounts limited, the ability of percussionists to change the attack of a sound with different implements is virtually limitless. In addition, where percussion articulation is limited, there are many techniques that allow performers to match articulation with other instruments. Still, percussion articulation is often a topic of little concern to many musicians. The problem is not that this issue has been completely ignored, but rather that a vast number of contradictory and conflicting viewpoints still permeate pedagogical methods and literature. This is most certainly the case with the marimba, where a review of method books reveals a multitude of confusing statements about marimba articulation. It is clear that there is still widespread confusion about marimba articulation from composers, conductors, and most importantly percussionists themselves. This study attempts to advance percussion pedagogy in this area through a better understanding of the terminology of musical articulation, the acoustical principles of the marimba, and the techniques that affect sound production on this instrument. After a review of these three areas, this study examines 166 recordings, which look at the actual effect of specific techniques carried out on the marimba. Finally, the project offers a set of recommendations for composers, conductors, and percussionists on all aspects of marimba articulation, in the goal of increasing marimbists' potential for greater musical expression.

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Esta pesquisa reúne informações específicas sobre o dedilhado pianístico. Através de uma revisão bibliográfica, o trabalho demonstra o surgimento de diferentes abordagens relacionadas a dedilhados durante o desenvolvimento da linguagem musical e dos instrumentos de teclado. Orientações de compositores, instrumentistas e editores-revisores indicam a existência de princípios que determinam a escolha de dedilhados. A revisão bibliográfica, portanto, identifica e classifica tais princípios de acordo com a natureza de sua elaboração. O olhar crítico às fontes selecionadas e analisadas justifica-se nas diretrizes da Nova História, a partir das idéias de Marc Bloch e da Escola dos Annales. Ao final, o trabalho discute a verificação e aplicação dos princípios levantados, em uma proposta interpretativa para o primeiro movimento da Sonata op. 78 de Beethoven
This research brings together specific information about keyboard fingering. Through a bibliographic review, the study reveals the emergence of different approaches related to fingering during de development of musical language and the keyboards instruments. Orientations from composers, pianists and editors indicate the existence of principles determining the choice of fingering. The bibliographic review thus identifies and classifies these principles according to their nature and elaboration. The critical eye on the sources selected and analyzed draws on guidelines from the New History, stemming from ideas put forth by Marc Bloch and the Annales School. Finally, in a performance proposal for the first movement of Beethoven’s Sonata op. 78, the principles identified are applied and verified

Orientador: Nahim Marun Filho
Banca: Lutero Rodrigues
Banca: Eduardo Monteiro
Resumo: Esta pesquisa reúne informações específicas sobre o dedilhado pianístico. Através de uma revisão bibliográfica, o trabalho demonstra o surgimento de diferentes abordagens relacionadas a dedilhados durante o desenvolvimento da linguagem musical e dos instrumentos de teclado. Orientações de compositores, instrumentistas e editores-revisores indicam a existência de princípios que determinam a escolha de dedilhados. A revisão bibliográfica, portanto, identifica e classifica tais princípios de acordo com a natureza de sua elaboração. O olhar crítico às fontes selecionadas e analisadas justifica-se nas diretrizes da Nova História, a partir das idéias de Marc Bloch e da Escola dos Annales. Ao final, o trabalho discute a verificação e aplicação dos princípios levantados, em uma proposta interpretativa para o primeiro movimento da Sonata op. 78 de Beethoven
Abstract: This research brings together specific information about keyboard fingering. Through a bibliographic review, the study reveals the emergence of different approaches related to fingering during de development of musical language and the keyboards instruments. Orientations from composers, pianists and editors indicate the existence of principles determining the choice of fingering. The bibliographic review thus identifies and classifies these principles according to their nature and elaboration. The critical eye on the sources selected and analyzed draws on guidelines from the New History, stemming from ideas put forth by Marc Bloch and the Annales School. Finally, in a performance proposal for the first movement of Beethoven's Sonata op. 78, the principles identified are applied and verified
Mestre

This study provides a resource for performers preparing Walton's Viola Concerto. It is intended to provide information regarding history, technical and musical obstacles, and common alterations to the viola part. The study begins with a historical overview of the work, including information about the composer and the composition. A review of the existing literature examines sources for parallel information and similar studies.The development of a methodology of study is based on the examination of nine excerpts from the Concerto. These excerpts represent technical and musical challenges found in the Concerto. Each example is accompanied by an excerpt from a study or etude that closely reflects the same technical musical challenges. These excerpts are provided as possible technical enhancement studies that, when practiced prior to or in conjunction with the study of the Concerto, provide the methodology of study with the means to actually address the technical demands of the Concerto.Included in the study are the opinions of professional violists, solicited for this study by means of a survey. The survey group is identified, and their opinions on the previously identified technical passages are presented. Compilations of survey responses, along with additional comments and suggestions, are provided in conjunction with the corresponding excerpts.The final portion of this study examines the alterations most frequently made to the viola part. These so-called "William Primrose alterations" are presented with the suggestions and recommendations of the survey respondents. Various aspects of performance practice are examined, and the study offers several conclusions on this subject.Survey participants agreed that performance of the Concerto is a task of considerable difficulty. Regardless of the performer or the performance venue, great technical, musical, and intellectual skill and energy is required. This study provides historical information that all performers should acquire, as well as a methodology of study. It includes performance and practice suggestions from several prominent violists. This methodology of study serves as a resource for violists who undertake to perform what is one of the most significant works in the viola repertoire.
School of Music

This dissertation aims to explore the functions and meanings of four frequently used dynamic accent markings (fp, rf, sf and sfp) in Beethoven’s early chamber music with the fortepiano, with the consideration of acoustic qualities and playing capabilities of instruments intended for the studied works. The sources of reference here include the three Op.1 piano trios, two Op.5 cello sonatas, and three Op.12 violin sonatas, using a modern critical edition in conjunction with the first editions published during Beethoven's lifetime. The study consists of two parts. The first part surveys historical aspects including: 1) the development of relevant instruments, namely the bow and the fortepiano, and 2) existing accentuation conventions, especially those found in selected works of Haydn and Mozart, and appropriate treatises from Beethoven's time. The second part of the study entails the examination of consistency and frequency of dynamic accent markings in general, and that of individual accent markings using specific musical examples. The process of this investigation shows that these signs have distinct meanings, and consequently, require different treatments for their respective executions in performance. It also implies that the acoustic qualities of the ensembles with instruments from Beethoven's time are the most important factor contributing to variations found in his use of the accent markings among the different genres. Such acoustic qualities include the quieter volume and faster decay of the fortepiano, as well as the larger sonority from the cello especially in the lower register, when compared with instruments made for today's concert halls. These insights not only illuminate the possible ways to realize each marking, but also clarify accent markings which could seem inconsistent to modern performers, in terms of acoustic balance, especially in combinations that include the cello.