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Performance And Interpretation: Beethoven's Opus 110, Izaac J. Masters

Theses: Doctorates and Masters

Within the context of professional music making, an increasing number of pianists use both modern and historical pianos as a matter of course. Yet, not infrequently, it seems that there is little awareness of how the inherent acoustic characteristics of each instrument may be used to inform interpretation, and the instrument-specific pianistic techniques that are needed if interpretation is to be optimised. This study explores issues of interpretation and performance as applied to Beethoven’s Piano Sonata in Ab major, op. 110. Three different performative interpretations of the sonata are constructed, each relating to a specific grand piano––made by, respectively, Conrad …

Karol Lipiński As A Musical Interpreter In The Pre-Joachim Era, Andrzej Kunecki

Theses and Dissertations--Music

The work concerns a study of Karol Lipiński – the early nineteenth century Polish violinist – focusing on his activity as a musical interpreter. The work is supported by a comparison with another violinist acknowledged in this field – Joseph Joachim. The work is divided between four chapters: The first chapter begins with a discussion on the development of the concept of musical interpretation in the context of the broader social and aesthetical changes of the early nineteenth century, and ends with a summary of Joachim’s interpretative activity in the latter half of the same. The second chapter includes Lipiński’s …

A Narrative Approach To The Barcarolles For Solo Piano By Gabriel Fauré (1845-1924), Matthew T. Pope

Electronic Thesis and Dissertation Repository

Gabriel Fauré (1845-1924) was one of the most influential composers in France at the end of the nineteenth and beginning of the twentieth centuries. Through his compositions and roles as professor, and later, director of the Paris Conservatoire, Fauré was instrumental in the development of twentieth-century French music; shaping “the core of the first wave of French composers to be wholly ‘twentieth-century’” (Duchen, 2000).

Fauré’s compositions span 121 opuses and his works for voice and chamber ensemble are well known amongst singers and chamber musicians alike. However, his name and works for solo piano are unfamiliar amongst performing pianists. This …

Emulating The "Country Fiddler": A Performance Analysis Of Fiddle Parodies And Impressions In Charles Ives's Second Violin Sonata, Emily Vold Weiss

Dissertations, Theses, and Capstone Projects

In his violin sonatas, Charles Ives frequently parodies fiddling style, both through overt quotes of fiddle tunes, as well as inventive compositional devices that mimic the fiddler’s style of bowing, ornamenting a melody, or generally rustic performance. Given the breadth of these fiddling allusions, it is important that violinists who perform Ives’s sonatas understand the distinctive aesthetics of fiddle performance, including the numerous ways in which it diverges from classical performance. In this dissertation, I survey pedagogical writings on fiddling, notated tunes, and recorded fiddling performances in an effort to characterize the performance practices of fiddlers from Ives’s native New …

Baroque Pianism: Perspectives On Playing Baroque Keyboard Music On The Piano, With Emphasis On Bach’S Fugues In The Well-Tempered Clavier, Chih-Tung Cheng

Dissertations, Theses, and Capstone Projects

In a famous quote, Schumann described the fugues in Bach's Well-tempered Clavier as pianists’ “daily bread.” This dissertation explains how these fugues can be pianists’ practical daily bread by encouraging them to explore a virtuosity of subtlety. I assert that the compositional complexity in these fugues increases pianistic challenges in both interpretive and technical aspects; these challenges can lead pianists to explore a multi-faced pianistic awareness in a way that they may not encounter when performing other styles of music.

Crossover Trumpet Performance: Jazz Style And Technique For Classical Trumpeters, Kevin Christopher Tague

UNLV Theses, Dissertations, Professional Papers, and Capstones

This document examines crossover trumpet playing: the ability to comfortably transition from classical to jazz style. Problems trumpeters face when shifting between classical and jazz styles and the importance of always performing idiomatically are discussed. There is no consensus regarding the best way to develop crossover ability, but experts agree that the proper use of articulation is vital for stylistically authentic performances. A review of the literature reveals fundamental differences in how articulation is taught in classical and jazz pedagogies. Additionally, jazz and classical musicians approach printed music differently. By detailing key elements of jazz articulation and interpretation the document …

Establishing Human Identity Through Randomly-Generated Lyrics: A Comprehensive Performer's Analysis Of Robert Paterson's Captcha And Its Performance, Kyle Yampiro

Dissertations, 2014-2019

Robert Paterson’s CAPTCHA is a five-song cycle for baritone and piano that comes with some unique challenges from an interpretive standpoint. The text is comprised of CAPTCHAs: two-word phrases originally designed to test human identity versus that of a computer. Nearly every phrase contains a gibberish word and a real word and there is no proper syntax. The composer leaves interpretation open to the performer, which prompts the primary question explored in this document: how can a singer create an effective performance of this piece, given its unique challenges?

This document takes a multidisciplinary approach to discover the range of …

Student-Centered Interpretation And Expression In The Large-Group Secondary Band Class, Mike Fedyszyn

Theses and Dissertations

In this study, the learner-centered instruction of the interpretation of expressive elements in a large-group band class is closely examined in order to determine if secondary-level students primarily learning in a large-group setting are able to utilize their own interpretations in applying expressive elements to their own performances. During the spring of 2014, a focus group of 11 students from an eighth-grade band in southeastern Wisconsin were assessed by a panel of six evaluators who are experienced Wisconsin band directors. Evaluations consisted of audio-recorded performances of two short melodies, one being actively studied in the large-group classroom setting and one …

The Solo String Works Of J. S. Bach: The Relationship Between Dance And Musical Elements, Chung-Hui Hsu

LSU Doctoral Dissertations

In 1685, the Doge of Genoa made a visit to the French court and asked Louis XIV to host a ball. Louis XIV responded affirmatively and arranged a magnificent dance in his private apartment. The type of dance that took place was a kind of social dancing which later became the standard included Allemande, Courante, Sarabande, Gigue, Minuet, Gavotte, Bourée, Loure and Chaconne. These dances were called theatrical dances when they were used in theatrical production by professional dancers. During this period, the relationship between composer and choreographer was sometimes inseparable. Maestro Jean-Baptiste Lully (1632-1687) and his well-known choreographer Pierre …