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Önder, Gülten Cüceoğlu. « Analysis of Carl Joachim Andersen Op.15 Flute Etudes Used in Flute Education ». International Education Studies 14, no 4 (24 mars 2021) : 57. http://dx.doi.org/10.5539/ies.v14n4p57.
Texte intégralRésumé :
In this study, it was aimed to examine C. J. Andersen’s op.15 etude book used in flute education in terms of measurement units, vocalization techniques, technical studies, nuance terms, speed terms, tonality. Thus it is aimed to reveal the gains that the etudes can provide for the student. Document analysis method was used in the study. The summary of results as follows. Etudes are mostly written in 4/4 unit of measure. It was found that mostly legato and staccato was used a great extent in the etudes. Interval was run the most in the etudes. Also etudes include technical studies such as arpeggio, chromatic scale, scale studies, and tonality. The terms crescendo and decrescendo nuances were used in all of the etudes. Mezzoforte, forte and piano nuances were also included in the etudes. Allegro and its varieties have been used as the term of speed in most of the etudes. In the etudes, 24 different tones were used, 12 of them in major tones and 12 of them in minor tones. Tone, measure and tempo changes were made in some etudes. Considering the results, Andersen’s op.15 etude book systematically covers many issues in terms of flute education. Etudes can provide to the student in flute education both in technical and musical gains; legato, tongue technique, articulation, interval, arpeggio, intonation, chromatic scale, phrasing, good breathing technique, a quality tone and a correct blowing angle. Instead of playing a etude book from the beginning to the end, the student’s difficulties can be eliminated by conducting etudes on whatever subject he/she has inadequate or difficulty. With this analysis, the topics in the etudes can be classified and presented in line with the needs of the students.
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Susanni, Paolo. « Tonal progression in Bartók's 'Etudes', Op. 18 ». New Sound, no 42 (2013) : 129–46. http://dx.doi.org/10.5937/newso1342129s.
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Bartók's mature musical language was born of both folk and art-music sources which influenced the composer in equal measure. The Three Studies for piano, Op. 18, represent a significant step in the evolution of the composers synthesis of the art-music source. All three etudes are based on equal-interval chains called interval cycles. Each of the three etudes represents a stage in the process of intervallic augmentation the composer named diatonic expansion. This concept, together with that of chromatic compression, is fundamental to all his mature works. The first etude expands the chromatic scale to two whole-tone scales. In the second etude the intervals are expanded to include the minor and major thirds as well as the perfect fourth, while in the third etude the tritone becomes the final step in the expansion process. The interactions of the ever-expanding interval cycles generate an array of diatonic, non-diatonic and abstract pitch collections. Parts of the opus rely on the concept of tonal progression based on axes of symmetry, which reached its perfection in later works such as the Out of Doors Suite and Music for Strings, Percussion and Celesta.
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Mits, Oksana. « Pedagogical system of piano technique evolution in the works of M. Moszkowski ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no 52 (3 octobre 2019) : 119–31. http://dx.doi.org/10.34064/khnum1-52.08.
Texte intégralRésumé :
Statement of the problem. The paper is devoted to the analysis of the pedagogical system of piano technique evolution which developed in the works of an outstanding Polish composer, pianist, teacher and conductor M. Moszkowski. Under consideration are pedagogical principles of the musician, his extensive editing work. Under analysis is the instructive pedagogical repertoire of Moszkowski: “School of double notes” op. 64, “A Book of Scales”, which outlines the fingering principles of the musician, etudes op. 72, 78, 91, 92, a collection of compositions “The Master and His Pupil” op. 96 and “Technical sketches” op. 97. The arsenal of techniques used in these works is rich and diverse, which emphasizes the artistic advantages of these compositions. The value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist is defined, since the pedagogical works of the composer can still serve as a good help for middle and high school students of music schools and colleges. The purpose of the article is to reveal the value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The study of M. M. Moszkowski’s piano etudes became a significant contribution to the development of West-European art of the second half of the 19th and early 20th centuries. The analysis of etudes allowed highlighting a free choice of figurative and stylistic priorities, tendency towards small size, focus on a certain type of technique, expressiveness of technically virtuoso tasks, use of simple forms, artistic diversity, prevelance of light mood and moving pace. These piano exercises are clearly presented as an integral part of Moszkowski’s pedagogical method, as well as the specifics of the author’s performance style. Moszkowski’s etudes are a kind of bridge between virtuosity skills and bright images, they help not only improve the technique but also develop student’s musicality. Undoubtedly, this approach provides a solid foundation in all areas of piano performance. Moszkowski’s etudes are less difficult to study, they have technical value that can be quickly acquired, but at the same time they are sustainable and program. Sometimes Moszkowski treats the etude genre very freely: as a substitute for another genre (Two miniatures op 67) as part of the dilogy cycle (Caprice-etude and Improvisation op. 70) and others. These works are little used in modern performing practice. At the same time, they represent a very interesting material that clearly reflects the distinctiveness of musical language of late romantic pianists, to which Moszkowski belonged. Conclusions. Special attention should be paid to the composter’s great contribution to the enrichment of the instructive piano repertoire. Unfortunately, pedagogically orientated works are not so often performed in today’s educational practice. Only 15 virtuoso etudes from op. 72. are widely used. It would be very useful for young musicians to get acquainted with numerous etudes of the composer, since they are of unquestionable interest from the viewpoint of the development of both technical skills and figurative thinking of students. This publication is intended to attract the attention of teachers and performers to wider mastering of piano etudes by M. Moszkowski, which would greatly enrich modern piano repertoire. Unfortunately, many piano compositions of the composer, which were created with a pedagogical purpose, are not used widely enough in educational practice today. Many of them are aimed at the development of elementary piano skills necessary for the development of a young performer: five-finger position, scale sequences, and chords. They are very important, that is why they are described in easy etudes, systematizing the basic forms of virtuosity. Such compositions of Moszkowski take the performer from the basics to the tasks of the highest virtuoso difficulty. His pedagogical system allows us to gradually and systematically improve pianism. The piece must be learnt in a certain sequence: mastering the musical text; playing in the tempo specified by the composer; analysis of the content of the work. Indeed, the performer should be able to divide the work into certain stages, especially if it concerns etudes – to strive for the maximum clear statement of the technical task, excluding anything that could hinder its accomplishment.
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Dick, Robert, John Heiss, Heinz Holliger et Thea Musgrave. « Etudes for Solo Flute, op. 20 ». Notes 46, no 1 (septembre 1989) : 236. http://dx.doi.org/10.2307/940783.
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Silva, Teresa Cristina Rodrigues. « Popper por Dennis Parker : O manifesto que revelou a música contida no "High School of Cello Playing" ». Revista Música 15, no 1 (26 avril 2015) : 195. http://dx.doi.org/10.11606/rm.v15i1.114709.
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Rulke, Volker. « Bartoks Wende zur Atonalitat. Die "Etudes" Op. 18 ». Archiv für Musikwissenschaft 57, no 3 (2000) : 240. http://dx.doi.org/10.2307/931006.
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Mits, Oksana. « The genre of the piano miniature in the creative work of M. Moszkowski ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no 50 (3 octobre 2018) : 136–48. http://dx.doi.org/10.34064/khnum1-50.10.
Texte intégralRésumé :
Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage à Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.
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Reese, Alan. « Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski ». Music Theory Spectrum 42, no 2 (2020) : 305–25. http://dx.doi.org/10.1093/mts/mtaa007.
Texte intégralRésumé :
Abstract A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).
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Johnson, Bret. « American Music ». Tempo 57, no 226 (octobre 2003) : 56–57. http://dx.doi.org/10.1017/s004029820330035x.
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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.
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Volik, Oleksii. « The classical and non-classical in performance interpretations of Etudes op. 25 by Fryderyk Chopin ». Scientific herald of Tchaikovsky National Music Academy of Ukraine, no 123 (19 décembre 2018) : 39–48. http://dx.doi.org/10.31318/2522-4190.2018.123.152415.
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SİVRİ ÖZKARADİĞİN, Begüm, et Aytekin ALBUZ. « J. F. MAZAS OP.36 “ETUDES SPECİALES” METODUNA İLİŞKİN ÖRNEK ANALİZ YÖNTEMİ (27 NUMARALI ETÜT ÖRNEĞİ) ». Journal of Turk-Islam World Social Studies 29, no 29 (2021) : 48–61. http://dx.doi.org/10.29228/tidsad.51630.
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Stefaniak, Alexander. « Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime ». Journal of Musicology 33, no 4 (2016) : 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.
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In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, the sublime abnegated mere sensuous pleasure; inspired a mixture of attraction, admiration, and trepidation; and implied both masculinity and intellectual cultivation. It offered a framework for self-consciously elevating virtuosity rooted in the sheer intensity and, in some cases, perceived inaccessibility of particular works and performances. Schumann extended the mantle of sublimity to Liszt during the virtuoso’s 1840 Leipzig and Dresden concerts. Critics described three of Schumann’s own 1830s piano showpieces using the rhetoric of the sublime, comparing the finale of the Concert sans orchestre, Op. 14, to violent forces of nature to illustrate the way its virtuosic passagework disrupts and engulfs lyrical themes within an anomalous formal structure. They also linked the Toccata, Op. 7, and Etudes symphoniques, Op. 13, to Beethoven, hinting at the ways in which Schumann alluded to or modeled these showpieces on Beethoven symphonies. These episodes in Schumann’s career broaden our understanding of the contexts in which nineteenth-century writers on music evoked the sublime, showing how they described this quality not only in symphonies and large choral works but also in solo performances and showpieces. They illuminate the politics of the sublime, revealing its significance for nineteenth-century thinking about the cultural prestige that particular musical works and performances could attain.
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Akgül, Alper. « A resource recommendation for improving musical expression and narration in piano education : An examination of loeschhorn op. 65 etudes ». Educational Research and Reviews 16, no 5 (31 mai 2021) : 189–201. http://dx.doi.org/10.5897/err2021.4149.
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Gedi, A. « The evolution of B. Bartok’s piano style ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no 57 (10 mars 2020) : 45–60. http://dx.doi.org/10.34064/khnum1-57.03.
Texte intégralRésumé :
Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change in the sound image of the piano. Probably, in B. Bartok’s work the new did not exclude the old one. The basic quality of B. Bartok’s piano style is its national characteristic, which is shrouded in the resources of the latest technique of musical composition. Conclusions. B. Bartok-pianist by genotype belongs to the Liszt’s branch of European pianism. The Liszt’s tradition is a combination of classical-romantic performing principles, which is especially evident in the works of disciples and followers of F. Busoni, K. Martinsen, K. Arrau, and G. Gould. In general, the evolution of B. Bartok’s piano style can be seen as a movement from the romantic – through folklore – to the neoclassical tradition, which is manifested in the change of musical-linguistic resources (rhythm, harmony, features of musical form, texture, melody). As a result, also the sound image of the piano was being changed. Auditory analysis of B. Bartok’s performing style allowed us to conclude that, unlike many pianists of the romantic tradition, B. Bartok uses pedal effects very avariciously, preferring clear and precise pronunciation (utterance) of all elements of the texture. We state the «imposition» of the classical tradition, which originates from harpsichordists, and new trends associated with the percussive understanding of the piano. From the point of view of the temporal organization of the musical form, his works are distinguished by metrical variability and polyrhythm; rhythmic discrepancy of textured layers; extensive use of repetition techniques and ostinato techniques. The foundations of Bartok’s mode-harmonic mentality (reliance on ancient modes of folk music; mode variability in the conditions of chromatic tonality) determine the difficulties of mastering the «intonation dictionary» of his piano works, and in general the technical equipment of the texture. Thus, Bela Bartok’s piano writing style is an expression of the artist’s innovative thinking, in which the performing component of his own abilities played a key role.
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Barska, Joanna. « Meaning, Emotions, Narrative : the Uniqueness of a Musical Work ». Tekstualia 4, no 43 (1 avril 2015) : 79–90. http://dx.doi.org/10.5604/01.3001.0013.4246.
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Sloboda wrote that the meaning and emotions are the most important elements of the musical experience. The paper focuses on both these aspects and poses three questions about music and narrativity. First: whether or when can we talk about a narrative or narrativity with reference to musical works? Second: when can we speak of meaning in music? Third: in what way do our emotions affect that meaning and determine our interpretation of a musical work? Whenever a musical work is perceived as if it created a story in our mind, it is based both on the composer’s suggestions as well as on our own way of interpreting it, which depends on cultural factors. I make a distinction between two areas of music. The fi rst one only stimulates individual emotions, refl ections, recollections, etc., and it is represented, for instance, by etudes or fugues, without titles, commentaries, or any other hint as to the work’s semantic interpretation. This kind of music would produce a different, particular meaning for each listener – through its tempo, key, and character. The second area is the music with an intention of telling a story or at least implying certain moods, emotions, and meanings. The article analyses e.g. Franz Liszt’s Faust Symphony in Three Sketches after Goethe and Fryderyk Chopin’s Fantasy on Polish Airs in A major, Op. 13. and seeks the ways of applying the category of „tellability” to them so as to ultimately address the question whether a musical piece can be a story.
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Barska, Joanna. « Musique, que me veux-tu ? Music, Meaning, and Narrative ». Tekstualia 1, no 3 (1 février 2017) : 97–123. http://dx.doi.org/10.5604/01.3001.0013.5932.
Texte intégralRésumé :
Sloboda wrote that the meaning and emotions are the most important elements of the musical experience. The paper focuses on both these aspects and poses three questions about music and narrativity. First: whether or when can we talk about a narrative or narrativity with reference to musical works? Second: when can we speak of meaning in music? Third: in what way do our emotions affect that meaning and determine our interpretation of a musical work? Whenever a musical work is perceived as if it created a story in our mind, it is based both on the composer’s suggestions as well as on our own way of interpreting it, which depends on cultural factors. I make a distinction between two areas of music. The fi rst one only stimulates individual emotions, refl ections, recollections, etc., and it is represented, for instance, by etudes or fugues, without titles, commentaries, or any other hint as to the work’s semantic interpretation. This kind of music would produce a different, particular meaning for each listener – through its tempo, key, and character. The second area is the music with an intention of telling a story or at least implying certain moods, emotions, and meanings. The article analyses e.g. Franz Liszt’s Faust Symphony in Three Sketches after Goethe and Fryderyk Chopin’s Fantasy on Polish Airs in A major, Op. 13. and seeks the ways of applying the category of „tellability” to them so as to ultimately address the question whether a musical piece can be a story.
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Klendiy, O. M. « Interpretative aspect of C. Saint‑Saëns’s piano music ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no 56 (10 juillet 2020) : 136–53. http://dx.doi.org/10.34064/khnum1-56.09.
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Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Saëns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Saëns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim of the paper, the following practical tasks have been solved: 1) lay down the requirements for a pianist when performing C. Saint-Saëns’s pianoforte cycles; 2) determine the artist’s most performed solo pianoforte works nowadays (namely the cycles). The methodological basis of the research is a comprehensive approach based on the unity of historical biographical, genre-style and performance research methods that emphasize the importance of the piano work of a unique French artist for modern generations of performers. The results of the research. The analysis of the performances of young C. Saint-Saëns has become obvious that at the beginning of his performance career, he was far from the traditional image of a pianist-virtuoso typical for the first half of the 19th century and has represented the model of a pianist-interpreter of classical music pieces, according to new cultural tendencies. In the middle of the 1860s C. Saint-Saëns shifted his genre-style priorities in his concert performance and widened the geography of his audience outside France to Germany, England and Russia. The French virtuoso improved his repertoire by performing the works of contemporary composers. However, the tendency towards romantic repertoire did not prevent him from including of J.-Ph. Rameau’s and J. S. Bach’s works into his concert program. Beginning from the 1890s to the end of C. Saint-Saëns’s performance career (1921), his own works made the basis of his concert programs also. Having systematized of C. Saint-Saëns’s repertoire, four performance preferences have been distinguished: 1) interest in the works of Baroque composers and French national culture of pre-classical period; 2) returning to Viennese classicists as the basis of a pianist’s concert repertoire in the new historical era; 3) having romanticists’ works serving as the example of modern performer’s repertoire in the second half of the 19th century; 4) producing his own music pieces and transcriptions. Based on summarizing the repertoire preferences, in terms of their stylistics and the increase in the significance of the historical interpretation of other composers’ works, which can be traced in C. Saint-Saëns’s statements and recommendations, it has been concluded that at the beginning of the 20th century his performance style corresponded to the one typical for new post-romantic performers – “interpreters-generalists” (according to O. Kandynskyi-Rybnikov, 1991). The comparison of C. Saint-Saëns’s solo concert programs of different years and the genre and style orientation of the piano compositions created by him in the corresponding periods shows a noticeable interconnection of two major areas of his creative activity – concert and composing. In his early period, he interpreted, as a pianist, mainly the classical music pieces (especially Beethoven’s). And his own Op. 3, Bagatelli, was created under the influence of the Viennese classicism music. In his mature period (starting from the middle of the 1860s), which was connected with C. Saint-Saëns’s concert tours outside France and the enrichment of his repertoire with the works by F. List, F. Chopin, F. Mendelssohn, R. Schumann, there was a shift of the composer’s genre and style priorities: he composed the concert etudes of the Op. 52, program pieces of the Album Op. 72. Finally, in his late period (from the 1890s), except for his own music pieces, the basis of C. Saint-Saëns’s concert programs consists of the works of classicists. At those times, his Suite Oр. 90, Six Etudes op. 135 for left hand and Six Fugues Op. 61 were created, which shows the author’s interest in the genre models of European Baroque. The fundamental principles of C. Saint-Saëns’s pianoforte mentality has been distinguished: virtuosity and simultaneous accuracy of applying expressive means; clarity and accuracy of instrument sound together with the delicacy and flexible manner of intoning; in terms of the interpretation of historically remote composers’ pieces (pre-classical, classical and early-romantic periods), the attempts to approximate the tone to the authentic sound pattern. Taking into account the composer’s performance style and the tasks set in the score of his works, the requirements for a pianists needed for the interpretation of C. Saint-Saëns’s pianoforte cycles have been laid down: high level of performance technical preparation; analytical skills, wide kit of mental sound patterns that integrates the features of various historical and style eras, from Baroque to PostRomanticizm. As for the panorama of the interpretative versions of C. Saint-Saëns’s piano works, every cycle has quite rich performance history, which is proved by numerous professional recordings. Over the last decade, more and more recordings of C. Saint-Saëns’s pianoforte cycles have been appearing, which contributes to the popularization of the pianoforte heritage of the French artist. Most of them have been created by French pianists. However, the geography of the recordings is quite wide: Italy, the USA, Switzerland, Hungary, Austria, Russia, Germany. Unfortunately, in Ukraine the piano cycles are almost unknown and are rarely performed; there are no known audio recordings of their performance by outstanding Ukrainian pianists. Conclusion. In search of a starting point in mastering the principles of interpretation of French piano culture, the study of the creative activity by C. Saint-Saëns today has advantages over the study of other French composers of the mid XIX – early XX century, because there is a large amount of material available that reveals its artistic, in particular performing, priorities. All the above indicates the need to popularize the piano heritage of C. Saint-Saens in the modern globalized world and proves the importance of an interpretological approach to its understanding. The latter reveals the essence of the piano style of a unique artist who, in his creative evolution, has gone from classicromantic attitudes to examples of his own nео-stylistic thinking, which dominates the art of the twentieth century.
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Bondarenko, Olena. « Toccata and toccata style in Yurii Reshetar’s piano works ». Aspects of Historical Musicology 21, no 21 (10 mars 2020) : 217–29. http://dx.doi.org/10.34064/khnum2-21.14.
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Background. Changes in the conditions of human existence have sharpened our sense of time. Today’s cultural space has adapted our perception of art to the simultaneous existence in “offline” and “online” forms. This new reality needs its artistic embodiment. When a contemporary composer, whose name has not yet gained widespread recognition, succeeds in accomplishing such a task, it demonstrates the opening of a new page in national art and becomes an interesting and significant event. Such an event is piano music of our contemporary Yurii Reshetar, which has not yet become the subject of scientific comprehension. The research methodology. The study is based on a synthesis of traditional musicological (genre-stylistic and comparative analysis) and modern, interpretive approaches, which are based on a question about the factors that determined the basic components of the author’s vision. Results. Yurii Reshetar is a composer whose work is endowed with a sharp sense of beauty and uniqueness of musical language. The musical genres to which Yu. Reshetar refers belong to the classical treasury, but in the author’s interpretation they acquire a new sound. Yu. Reshetar has a unique biography. He got into the composition at the age of 30. Lack of professional education did not hinder the dynamic growth and acquisition of true compositional skill. An interested appeal to early genres is seen in the large creative heritage of the composer. Toccata, which has been included by the author in the “16 Concert Etudes” collection, is one of the many works of the composer, which embodied the ideas of movement and time. Toccata style can be found in his numerous works: in “16 Concert Etudes” cycle, in Sonata for piano in E minor, in Gigue from the Suite for Piano. Toccata was created on October 17, 2017, it has a program content, which the author designates with the words “Purifying by fire”. To realize the chosen artistic content, the composer aptly chooses a form, which is unusual for toccata. This is an atypical rondo: A B A В1 A, where the main theme (the theme of “fire”) is a refrain, and the theme of B and B1 is associated with the changing of spirit state of man under the influence of fire. The texture formula of the main theme of toccata by repetitions and leaps of the main sound up and down the octave, resembles the unexpected flashes of flames. Toccata by Yu. Reshetar is written in E flat minor. Performing of a virtuoso work on black keys has its own peculiarities: even if a performer is familiar with the pianistic difficulties, this additional difficulty encourages special concentration and control over hand coordination, to sharpening of the rationalization of movements and accuracy of finger movements. The standard of Toccata performance is its author’s interpretation, which is publicly available on the YouTube channel. The performance impresses with a balance between the clear logic of building the form and the artistic richness of the music. Toccata’s music requires from the performer versatility of interpretation: of the artistic sense, understanding of the stylistic synthesis, creation of a modern image of the piano sound and the novelty of tonal-harmonic colors, developed metro-rhythmic sense, the ability to express the individuality. But the pianistic convenience of textural presentation is evidence of the author’s natural feeling the laws of piano performance. Such impressions were shared by pianist Anastasia Zakharchenko, who performed Toccata during a competition held at the Lviv National Musical Academy named after Mykola Lysenko in December 2017. The toccata concept has also found its artistic embodiment in other works of the composer. Energy of modernity reflected in the intention of the directed ostinato movement is also skillfully embodied by Yu. Reshetar in the “16 Concert Etudes” cycle op. 38 (21.09.2019). Each of etudes is a pearl that reveals the harmonious combination of the uniqueness of the author’s stylistic qualities, the modernity of artistic thinking and the unexpected originality of texture finds. The capriciousness of figurative characteristics is embodied with such imagination and inventiveness that even a high level of technical complexity will not be an obstacle for the enthusiastic mastering of this cycle by performers. “Concert style” underlined by the author is achieved through the using of various composing methods and techniques, among which the most weight is the toccata style. The refined aesthetics of baroque music acquires its charming and convincing embodiment in Yu. Reshetar’s “Barogue Suite for Piano”. The suite consists of 7 pieces, each of which is a traditional part of the suite cycle of that era: Allemanda, Courante, Menuet, Aria, Gavotte, Sarabande, Gigue. The final piece of the cycle unobtrusively embodies the toccata’s principle of the ostinato movement, which is elegantly combined with the characteristic dance metro-rhythmic and ornamentation-intonational features of the baroque gigue. The refined author’s stylization is full of composer’s respect and special honoring of old traditions. Conclusions. Numerous Yu. Reshetar’s appeals to toccata style as to the embodiment of the image of continuous movement as a symbol of time and creative activity of a man emphasize that toccata and toccata style became one of the artistic preferences of the composer and the characteristic of his style. Every example of toccata style in the above-mentioned piano works by Yu. Reshetar becomes a real discovery. The composer proves to the listeners of his works that the toccata code has preserved endless prospect for its development and renewal.
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Arifa Hidayamastifa, Rini, et Jagar Lumbantoruan. « PEMBELAJARAN ETUDE FIFTY LITTLE FLUTE STUDIES OP25 PADA MAHASISWA INSTRUMEN FLUTE PRODI PENDIDIKAN MUSIK FBS UNP ». Jurnal Sendratasik 9, no 3 (1 septembre 2020) : 22. http://dx.doi.org/10.24036/jsu.v9i1.109380.
Texte intégralRésumé :
Abstract The purpose of this study is to find out how the learning process of Etude Fifty Little Flute Studies is conducted in the flute instrument Major I course in the Music Education Study Program at FBS UniversitasNegeri Padang. This research is a descriptive analysis research by utilizing qualitative data. The implementation of Etude Fifty Little Flute Studies learning in flute instrument major I involved students of 2019 class who just took major I course which was played in 3 repertoires.The study examined the learning process of Etude Fifty Little Flute Studies Op 25 and Op 26 by looking for processes, learning experiences, and learning evaluations.Based on the results of learning conducted, Etude Fifty Little Flute Studies is very influential in the learning process.It is due to the fact that flute instrument major I studentsare still categorized as beginners and are new to the flute instruments and theoretical abilities such as using suspension, legato and staccato techniques.This is proven by students who carry out the process well and practice through the material given. Thus, these students get grades according to their processes.The relation between what is explained by the lecturer and the students theoretically and practically can be done well even though it is not that optimal because there is no direct control through face to face meeting.Keywords: Learning, Etude Fifty Little Flute Studies, Flute Instruments
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Cherniavska, Marianna. « I. B. KRAMER’S PIANO WORK IN THE ASPECT OF INTERRELATION OF PERFORMANCE AND COMPOSITION ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no 58 (10 mars 2021) : 96–112. http://dx.doi.org/10.34064/khnum1-58.06.
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Background. The article is devoted to the piano work of the famous English pianist, teacher and composer Johann Baptist Kramer (1771–1858), whose 250th anniversary is celebrated in 2021. I. B. Kramer, like other pianists of the late XVIII – early XIX centuries, tried to solve a significant problem – mastering the basics of composition, its laws, principles, techniques, their combination with the game nature and capabilities of the piano. Objectives. The purpose of the article is to reveal the relationship between performing and compositional means in I. B. Kramer’s piano works. Methods. The basis of the methodology is a systematic approach, through which musicological research methods are combined with historical ones. The main document of the era in the field of musicological research is the musical text, so the analysis of musical works is carried out from the standpoint of performance at the levels of performing technical means, musical thinking of the composer and performer. Other components of the texture, the development of its individual layers in the whole system, as well as the coverage of one or another feature of the playing nature of the piano are also taken into account. Conclusions. I. B. Kramer’s pedagogical system is considered, which is a system of technical means of performance, which contributed to the embodiment of the game nature of the instrument. In works of art, the composer used these techniques as needed to create a certain figurative sphere. Analyzed “Pathetic Fantasy” op. 87 (1837), four notebooks Suite – arrangements for piano chamber works of classical composers, where the composer embodied ensemble thinking on the piano, introduced the principles of dialogicity and comparison of registers as a method of artistic development of musical material. Results. Continuing the work of his teacher M. Clementi, I. B. Kramer contributed to the development of concert activities in Europe, the differentiation of pedagogy, performance and composition into independent musical activities. His methodical works and opuses of etudes were the basis of pedagogy for the next generations of pianists, defined the foundations of piano pedagogy as a scientific discipline. The piano instructional material created by I. B. Kramer allowed to master the techniques of piano playing in a short time. Along with L. V. Beethoven, I. B. Kramer made an important contribution to deepening the content of musical works by means of composer’s writing. The perfection of the presentation of piano technique had a positive effect on the development of compositional techniques in the works of the musician – the development of contrasting themes, the principles of development of musical material, the improvement of musical forms. The sphere of dramatic pathos and heroism defined the image of pathos in music, which corresponded to the possibilities of the instrument and at the same time contributed to the formation of a romantic style in piano art.
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Swift, Richard, Oliver Knussen, John Buller, Alexander Goehr, Stefan Wolpe et Gordon Crosse. « Coursing (Etude I) ; For Chamber Orchestra, Op. 17 (1979) ». Notes 45, no 3 (mars 1989) : 620. http://dx.doi.org/10.2307/940828.
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Bakel, M. A., A. Appadurai, C. Baks, Ákos Östör, W. E. A. Beek, B. Bernardi, H. W. Bodewitz et al. « Book Reviews ». Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 143, no 1 (1987) : 159–98. http://dx.doi.org/10.1163/22134379-90003345.
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- J. van Goor, Rechtzetting. - M.A. van Bakel, A. Appadurai, The social life of things. Commodities in cultural perspective, Cambridge: Cambridge University Press. 1986. XIV + 329 pp. - C. Baks, Ákos Östör, Culture and power; Legend, ritual, bazaar and rebellion in a Bengali society, New Dehli etc.: Sage Publications, 1984, 224 pp., including notes and glossary. - W.E.A. van Beek, B. Bernardi, Age class systems; Social institutions based on age, Cambridge University Press, 1985, 199 pp. - H.W. Bodewitz, J.-M Péterfalvi, Le Mahabharata. Livres I à V. Livres VI à XVIII. Extraits traduits du sanscrit par Jean-Michel Péterfalvi. Commentaires, résumé et glossaire par Madeleine Biardeau, Paris: Flammarion, 1985 and 1986. 381 + 382 pp., M. Biardeau (eds.) - Paul Doornbos, Raymond C. Kelly, The Nuer conquest - The structure and development of an expansionist system, Ann Arbor: The University of Michigan Press, 1985, 320 pp. - Henk Driessen, Paul Spencer, Society and the dance: The social anthropology of process and performance, Cambridge: Cambridge University Press, 1985, 224 pp. - D. Gerrets, Daniel Miller, Ideology, power and prehistory, Cambridge: University Press, 1984. 157 pp. numerous figs., Christopher Tilly (eds.) - Peter Kloos, Jacques Lizot, Les Yanomami Centraux, Editions de l’Ecole des Hautes Etudes en Sciences Sociales, Paris 1984, 267 pp. - Peter Kloos, Jacques Lizot, Tales of the Yanomami; Daily life in the Venezuelan forest, Cambridge Studies in Social Anthropology no. 55, Cambridge University Press, 1985, 196 pp. - Peter Kloos, H. Zevenbergen, Zwakzinnigen in verschillende culturen, Lisse: Swets & Zeitlinger, 1986, 109 pp. - Piet Konings, Freek Schiphorst, Macht en Onvermogen: Een studie van de relatie tussen staat en boeren op het Vea-irrigatie project Ghana, Universiteit van Amsterdam, CANSA publikatie nr. 20, 1983, 107 pp. - S. Kooijman, E. Schlesier, Eine ethnographische Sammlung aus Südost-Neuguinea. - H.M. Leyten, Bernhard Gardi, Zaïre masken figuren, Museum für Völkerkunde und Schweizerisches Museum für Volkskunde, Basel, 1986. - J. Miedema, Bruce M. Knauft, Good company and violence: Sorcery and social action in a lowland New Guinea Society, Berkeley, Los Angeles/London: University of California Press, 1985, X + 474 pp. - David S. Moyer, David H. Turner, Life before genesis, a conclusion: An understanding of the significance of Australian aboriginal culture, Toronto Studies in religion volume 1, Peter Lang, New York, 1983, vii + 181 pp. - B. van Norren, Peter Kloos, Onderzoekers onderzocht; Ethische dilemma’s in antropologisch veldwerk, DSWO Press, Leiden, 1984. - Jérôme Rousseau, Victor T. King, The Maloh of West Kalimantan. An ethnographic study of social inequality and social change among an Indonesian Borneo people, Dordrecht-Holland/Cinnaminson-U.S.A.: Foris Publications, Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde no. 108, 1985. viii + 252 pp., maps, diagrams, plates, glossary. - Jérôme Rousseau, Alain Testart, Le communisme primitif, I. Economie et idéologie, Paris: Editions de la Maison des Sciences de l’Homme, 1985, 549 pp. - Arie de Ruijter, David Pace, Claude Lévi-Strauss. The bearer of ashes, London: Routledge and Kegan Paul (Ark Paperbacks), 1986. - B.J. Terwiel, Roland Mischung, Religion und Wirklichkeitsvorstellungen in einem Karen-Dorf Nordwest-Thailands, Weisbaden: Franza Steiner Verlag, 1984. - B.J. Terwiel, Niels Mulder, Everyday life in Thailand; An interpretation, Second, Revised edition, Bangkok: Duang Kamol, 1985. 227 pages, paperback. - R.S. Wassing, Sidney M. Mead, Art and artists of Oceania, The Dunmore Press, Palmerston North, New Zealand, 1983. 308 pp., drawings, black and white illustrations., Bernie Kernot (eds.) - Harriet T. Zurndorfer, Maarten van der Wee, Aziatische Produktiewijze en Mughal India, Ph.D thesis, Katholieke Universiteit, Nijmegen, 1985. xv + 399 pp. - M.A. van Bakel, J. Terrell, Prehistory in the Pacific Islands. A study of variation in language, customs and human biology, Cambridge: Cambridge University Press. 1986, XVI + 299 pp.
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Sun, NataliiaYuriyivna. « Solo piano compositions by Hsiao Tyzen in the aspect of performing problems ». Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no 57 (10 mars 2020) : 165–77. http://dx.doi.org/10.34064/khnum1-57.10.
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Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “Dragon Boat Festival”, op. 58 (1996), “Spirit of Taiwan” (1998), “Nana Oh’s Meditation” (1999), “The Angel from Formosa” (1999). This huge layer of music is not sufficiently studied in the performing aspect. The characteristic of the pianistic level of complexity of the compositions under consideration is given, technical and artistic difficulties are revealed. Objectives. The purpose of the study is to identify the main performing tasks in the solo piano compositions of Hsiao Tyzen. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Piano works of Hsiao Tyzen of an early period of art op. 37, 38 and 40, united in the general cycle “Poetic Response”, are devoted to religious themes and include melodies of religious hymns. Combining three diverse piano cycles, the composer builds a kind of complex form of cycles in the cycle. The influence of romanticism in the music of Hsiao Tyzen is felt in his interpretation of melody, harmony, rhythm, tempo and texture. Composers of the twentieth century, especially C. Debussy, influenced the piano compositions of the late period. Since the works created by Hsiao Tyzen have varying degrees of pianistic complexity, it seems important to determine the pedagogical significance of the uncomplicated piano repertoire and the performing tasks that the interpreter of concert compositions faces. The cycle “Memories of Home” op. 49, consisting of six miniatures, is dedicated to the composer’s childhood memories. The main tasks of the pianist in the “Ancient Taiwanese melody” from the cycle “Memories of Home”, op. 49 will be the auditory implementation and development of a touch of legato, the performance of melismatics, the observance of sound balance between hands, the ability to draw a long melodic line, cleverly using a finger swap and moving from one position to another. In the Prelude, the tasks of the performer’s main technical and artistic problems are to accurately reflect dynamic contrasts, the agility of transitions in various textured combinations, the sound realization of polyphony, precise articulation and coordination of small notes in passages. “Memory” requires the performer of the highly professional possession of legato, manifested in the combination of the upper voice of the chord musical fabric, flexible movement skills and an accurate sense of polyrhythmia. In the “Playground” you need to show imaginative imagination, while reflecting the variety of strokes and dynamics specified by the author. “Elegy” requires a deep soulful feeling from a performer, high-quality sounding of a melody, and the formation of long phrases. “Farewell Etude” op. 55 and “Toccata” op. 57 – detailed compositions saturated with romantic technique and imagery. The intonational filling of the plays reflects the national Taiwanese flavor. “Farewell sketch” was the last work of Hsiao Tyzen, written in the tradition of romanticism. The piece is based on the famous Taiwanese folk song “Four Seasons”. The composer places the melody in the middle register, framing on both sides with a luxurious romantic texture. “Toccata” is full of numerous techniques that are difficult enough not only to execute, but even to remember. Frequent change of textured formulas is especially difficult for a pianist, because in addition to the clever execution of a virtuoso texture, you need to keep an accurate rhythmic pulsation. This repertoire is intended for concert performance and requires a pianist of a high professional pianistic level and bright artistry. It requires scale of performance, absolute technical and sound knowledge of the texture, knowledge and auditory presentation of the characteristics of Taiwanese musical culture, and mastery of pedalization. Conclusions. Hsiao Tyzen’s solo piano compositions provide a better understanding of the work of contemporary Taiwanese composers. They are rightfully one of the most striking pages of Taiwanese musical culture and deserve further introduction into a wide international music audience. These works, in our opinion, have high artistic merits and are intended for a different contingent of performers. Their value as a pedagogical and concert repertoire is a vivid imagery, a reflection of the national principle, interesting compositional and sound solutions.
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Rector, Michael. « Historical Trends in Expressive Timing Strategies : Chopin's Etude, Op. 25 no. 1 ». Empirical Musicology Review 15, no 3-4 (28 juin 2021) : 176–201. http://dx.doi.org/10.18061/emr.v15i3-4.7338.
Texte intégralRésumé :
Studies of early 20th-century performance practice tend to focus on features that are alien to late 20th- and early 21st-century ears. Empirical analysis of timing in recordings of Chopin's Etude, Op. 25 no. 1—a piece for which performance style has remained relatively static—suggests how some foundational rules of phrasing and expressive nuance have changed over the history of recorded music. Melody note onsets were marked manually in 127 commercial recordings dating from 1909 to 2016. Overall, the data do not show an increase or decrease over time in the amount of tempo fluctuation. Independently of a tendency to use slower tempi, pianists changed the way they employ rubato. Several factors contribute to a trend whereby the fourth beat is lengthened at the expense of the second and third beats: an increase in phrase-final lengthening, an increase in the use of tempo arching for shorter groups of measures, and a tendency to delay the arrival of an accented dissonance or change of harmony instead of lengthening the melody inter-onset interval that contains it. The data illustrate nearly imperceptible shifts in interpretation and suggest that some practices thought to be the bedrock of expressive performance may be historically conditioned.
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Devevey, Alain. « Etude de l'interaction chez des sujets somniloques ». SHS Web of Conferences 46 (2018) : 10001. http://dx.doi.org/10.1051/shsconf/20184610001.
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L'objet de cette étude est de montrer que le langage ne peut en aucun cas se résumer à un acte singulier (Saussure, 1915) et que la psycholinguistique ne peut permettre d'appréhender, du point de vue cognitif, la production d'un acte de langage dans sa globalité. Il est en effet impossible de concevoir la production d'un acte de langage en étudiant un seul individu : "Pour trouver dans l’ensemble du langage la sphère qui correspond à la langue, il faut se placer devant l’acte individuel qui permet de reconstituer le circuit de la parole. Cet acte suppose au moins deux individus; c’est le minimum exigible pour que le circuit soit complet." (Saussure, op. cit., p. 17). Pour ce faire nous montrerons que les productions verbales du sujet somniloque participent d'un échange verbal, au cours duquel l'alternance des tours de parole est adaptée à un interlocuteur, non accessible à l’observateur.
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Özkan, Ezgi, et Şebnem Yıldırım Orhan. « TECHNICAL AND STYLISTIC ANALYSIS OF THE OP.113 ETUDE BOOK BY SEBASTIAN LEE ». e-Journal of New World Sciences Academy 12, no 2 (28 avril 2017) : 83–91. http://dx.doi.org/10.12739/nwsa.2017.12.2.d0191.
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Baibikova, Galina Valentinovna, Alina Vladimirovna Kuznetsova et Irina Viktorovna Sokolova. « Specificity of Interpreting F. Chopin’s Music (by the Example of Etude Op. 10 № 5) ». Manuskript, no 6 (juin 2020) : 172–76. http://dx.doi.org/10.30853/manuscript.2020.6.33.
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Gollin, Edward. « Near-Maximally-Distributed Cycles and an Instance of Transformational Recursion in Bartók's Etude Op. 18, No. 1 ». Music Theory Spectrum 30, no 1 (avril 2008) : 139–51. http://dx.doi.org/10.1525/mts.2008.30.1.139.
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Repp, Bruno H. « Effects of Auditory Feedback Deprivation on Expressive Piano Performance ». Music Perception 16, no 4 (1999) : 409–38. http://dx.doi.org/10.2307/40285802.
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Previous studies have suggested that elimination of auditory feedback has no significant effect on the accuracy of keyboard performance. In the present study, this issue was investigated further by focusing specifically on parameters of expression in piano performance: horizontal and vertical timing, horizontal and vertical dynamics, and pedaling. Six pianists performed a short musical excerpt (bars 1-5 of Chopin's Etude in E Major, op. 10, no. 3) 10 times on a digital piano in each of four conditions: expressive with and without feedback, and metronomic with and without feedback. The data analyses revealed significant effects of feedback deprivation on all expressive parameters in both expressive and metronomic performance. However, these effects were very small, except for some substantial changes in pedaling by some pianists. To determine the perceptual and aesthetic significance of these effects, a group of pianist listeners was presented with a forced- choice test in which expressive performances produced with and without feedback were paired with each other. The listeners correctly identified the performance played without feedback on only 63.5% of the trials, which confirms the relative subtlety of the effects of feedback deprivation. Although expression seems to be controlled primarily by an internal representation of the music, auditory feedback may be important in fine-tuning a performance and in the control of pedaling. However, it is also possible that the effects of auditory feedback deprivation merely reflect a lack of motivation to play expressively in the absence of sound.
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على عبدالمنعم, محمد, هانی فؤاد شفیق et هشام عادل محمد رشاد سرج. « " أسلوب أداء دراسة البیانو رقم (10) مصنف 72 عند موریتز موسکوفسکی " “Performance of Piano Etude No. (10) Op. 72 for Moritz Moszkowski“ ». المجلة العلمیة للدراسات و البحوث التربویة والنوعیة 5, no 1 (1 mai 2018) : 1–21. http://dx.doi.org/10.21608/sjse.2018.58340.
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« F. Chopin Op. 10 Etudes “Milestone of the Piano Technic” ». Arts and Design Studies, mars 2019. http://dx.doi.org/10.7176/ads/71-03.
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Volik, A. « PERFORMANCE CANON IN MODERN COMPETITION AND CONCERT PRACTICE (BASED ON THE MATERIAL OF INTERPRETATIONS OF CHOPIN’S ETUDES OP. 10) ». European Journal of Arts, 8 avril 2020, 8–14. http://dx.doi.org/10.29013/eja-20-1-8-14.
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Zinkiv, Iryna. « With regard to an instruction on a topic «Complex Binary Form» within the «Musical Works Analysis» course ». Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 30–45. http://dx.doi.org/10.33398/2310-0583.2019.44.30.45.
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The article deals with arelevant issues of instructing the topic «Complex Binary Form», which is read within «Musical Works Analysis» lecture coursein the higher educational institutions of Ukraine of III – IV levels of accreditation. Given that this is one of the most complex form in the structure of the course, it is attributed to the understudied ones, although quite branched by the number of varieties. The investigations poses a question of the form definition, genesis, morphology, scope of application in the genres of vocal and instrumental music. Its structural specificity and semantic-shaped content are covered in the works by V. A. Mozart, L. van Beethoven, F. Chopin, K. Debussy, S. Rachmaninov, and others. The links identified with Neo-Baroque and Neoclassical Stylistics, as well as multi-style editing, which was formed within the aesthetics of modernism. Based on a study of genetic origins of a complex binary form and structurally-semantic analysis of the professional music works in different genres by the composers of the XVIII– XX centuries, written in this form, it became possible to substantiate its unique specificity and special role in the music of the New and Newest times. The article deals with two basic varieties of the complex binary form – repetition and non-repetition. The first variety usually includes works of vocal music, when the final function is performed either by the last verse («Adelaide» by L. van Beethoven), or by a synthetic repetition. The second one consists of the complex binary forms with a coda, existing either with contrasting, based on a completely new thematic material (Nocturne Op 32 No. 1, F. Chopin), or with a synthetic coda (Minstrelie by K. Debussy, Etude- picture No. 4, Op. 39 S. Rachmaninov, in the last play – with the signs of an old binary form). Modern composers use such forms extremely rare.
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Li, Mingchun. « On Piano Teaching with the Aid of Classical Chinese Poems : A Case Study on Chopin’s Etude OP 10, No 3 ». Asian Social Science 10, no 19 (29 septembre 2014). http://dx.doi.org/10.5539/ass.v10n19p263.
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Eke, Yucan. « COMPLIANCE OF KOHLER OP:33 NO I-II-III ETUDE BOOKS THAT ARE USED IN HIGH SCHOOLS OF FINE ARTS WITH FLUTE CONCERTOS ». Idil Journal of Art and Language 4, no 17 (21 juillet 2015). http://dx.doi.org/10.7816/idil-04-17-06.
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« Jacqueline Hamesse, ed., Les manuscrits des lexiques et glossaires de l'antiquité tardive à la fin du moyen âge. Actes du Colloque international organisé par la “Ettore Majorana Centre for Scientific Culture” (Erice, 23–30 septembre 1994). (Textes et Etudes du Moyen Age, 4.) Louvain-la-Neuve : Fédération Internationale des Instituts d'Etudes Médiévales, 1996. Paper. Pp. xiii, 723 ; 2 black-and-white plates, 5 black-and-white figures, diagrams, and tables. Distributed by Brepols, Steenweg op Tielen 68, 2300 Turnhout, Belgium. » Speculum 72, no 01 (janvier 1997) : 247. http://dx.doi.org/10.1017/s0038713400143040.
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