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Articles 1 - 30 of 79
Full-Text Articles in Music Practice
Interpreting Jean Coulthard's Concerto For Piano And Orchestra (1963): A Pianist's Perspective, Jocelyn Lai
Interpreting Jean Coulthard's Concerto For Piano And Orchestra (1963): A Pianist's Perspective, Jocelyn Lai
Dissertations, Theses, and Capstone Projects
Jean Coulthard (1908-2000) is recognized as one of Canada’s most prolific and important female classical composers in the twentieth century. She remained creatively active from her hometown of Vancouver, British Columbia, for eight decades, resulting in a catalog of over 350 works representing most classical music genres. Her music continues to be performed and recorded by renowned ensembles and soloists such as the Vancouver Symphony Orchestra, CBC Vancouver Orchestra, Calgary Philharmonic, Purcell String Quartet, pianists John Ogdon and Jane Coop, and contralto Maureen Forrester. Coulthard is known for her distinctive coloristic sonorities reminiscent of those in works by European composers …
Don't Lose Your Keys: Exploring The Transition From Harpsichord To Piano, Justice Post
Don't Lose Your Keys: Exploring The Transition From Harpsichord To Piano, Justice Post
Capstone Projects and Master's Theses
This paper explores keyboard technology in music from the Baroque era to today. Central focus is on the initial dominance of the harpsichord in Western music and how this shifted to the piano. Using this context of evolving instrumentation, the paper considers how this coincided with changing styles of music composition. Finally, the paper considers the question of how a keyboardist of today should handle music written in eras before the piano existed, and whether it is appropriate to perform harpsichord music using a modern piano.
Villa-Lobos’S Segunda Sonata-Fantasia For Violin And Piano: An Analysis And Performance Guide, Maira Braga Cabral
Villa-Lobos’S Segunda Sonata-Fantasia For Violin And Piano: An Analysis And Performance Guide, Maira Braga Cabral
LSU Doctoral Dissertations
This study focuses on Villa-Lobos’s Segunda Sonata-Fantasia for Violin and Piano, written between 1913 and 1914. A brief biography of Villa-Lobos until 1915 provides the context of the period during which he composed the piece. Next, Villa-Lobos’s main influences are presented, a list that includes European nineteenth-century aesthetics, Impressionism, Brazilian popular music, Wagner’s motivic treatment, and Brazilian indigenous music. Next, the main compositional devices used by the composer are discussed, providing examples from the Segunda Sonata-Fantasia and from other pieces by Villa-Lobos. A structural analysis of the piece is presented, focusing on the form, thematic approach, and harmonic processes.
The …
Influence And Innovation: Beethoven's Impact On The Sonatas For Piano And Cello By Mendelssohn And Chopin, Patrick T. Bellah
Influence And Innovation: Beethoven's Impact On The Sonatas For Piano And Cello By Mendelssohn And Chopin, Patrick T. Bellah
Dissertations, 2020-current
The bulk of the scholarship in this paper centers around Beethoven’s five sonatas written for piano and cello and how he established a new normal within the genre. This is evidenced by what are arguably the two most noteworthy sonatas for the same instrumental medium, written by Mendelssohn and Chopin, following Beethoven’s death. I posit that the five sonatas written by Beethoven establish a series of models upon which the latter two works by his successors are based.
Chapters two and three of this document are separated into subsections that detail the plausibility of Beethoven’s influence through circumstantial evidence, musical …
Performing Rhythmic Dissonance In Ligeti’S Études, Book 1: A Perception-Driven Approach And Re-Notation, Imri Talgam
Performing Rhythmic Dissonance In Ligeti’S Études, Book 1: A Perception-Driven Approach And Re-Notation, Imri Talgam
Dissertations, Theses, and Capstone Projects
Interpretive approaches to the Études have been limited by Ligeti’s choice of notation, which creates several layers of difficulty in the presentation of complex rhythms. In order to resolve some of these difficulties, this dissertation includes a complete re-notation of four Etudes, using a methodology based on research in cognition and perception of rhythm.
Based on this new score, the notion of rhythmic dissonance is developed as an analytical tool to investigate in-time perception of rhythmic complexity, drawing on existing work on metric entrainment and metric dissonance. Different compositional strategies for the production of rhythmic dissonance are shown to have …
Vital Performance: Culture, Worldview, And Romanticist Performance Practice With Application In Franz Liszt’S Consolations And Années De Pèlerinage Première Année, Andrew John Snedden
Vital Performance: Culture, Worldview, And Romanticist Performance Practice With Application In Franz Liszt’S Consolations And Années De Pèlerinage Première Année, Andrew John Snedden
Theses: Doctorates and Masters
This thesis examines issues of historical performance in the piano music of Franz Liszt, positing cultural exegesis as an overlooked source of evidence. Philosophical biases underlying mainstream C20th performance approaches (and their inhibiting potential) are discussed. A detailed reconstruction of Romanticist style is made with attention to primary sources, including historical recordings. A nomenclature for score annotation and an analytical paradigm for identification and application of Romanticist performance characteristics are proposed. These are experimentally applied, referencing exegetical insights, in Liszt’s Consolations and Années de Pèlerinage: Première Année through annotated scores and studio recordings on an 1860’s Érard grand
"Werke Für Klavier Zu Vier Händen" By Franz Schubert, Kassel: Bärenreiter, 2013, Su Yin Mak
"Werke Für Klavier Zu Vier Händen" By Franz Schubert, Kassel: Bärenreiter, 2013, Su Yin Mak
Performance Practice Review
Su Yin Mak discusses Bärenreiter's 2013 edition of Schubert's work.
Schubert, Franz. Werke für Klavier zu vier Händen, Band III, ed. Walburga Litschauer (Nos. 2-5) and Werner Aderhold (No. 1); Urtext of the New Schubert Edition, BA 9645. Kassel: Bärenreiter, 2013.
ISMN: 9790006539871.
"Beyond The Score: Music As Performance" By Nicholas Cook, Aron Edidin
"Beyond The Score: Music As Performance" By Nicholas Cook, Aron Edidin
Performance Practice Review
Aron Edidin reviews and discusses Nicholas Cook's 2013 work. Cook, Nicholas. Beyond the Score: Music as Performance. Oxford: Oxford University Press, 2013. ISBN: 978-0-19-935740-6.
"Off The Record: Performing Practices In Romantic Piano Playing" By Neal Peres Da Costa, William Kinderman
"Off The Record: Performing Practices In Romantic Piano Playing" By Neal Peres Da Costa, William Kinderman
Performance Practice Review
William Kinderman discusses and reviews Peres Da Costa's 2012 work.
Peres Da Costa, Neal. Off the Record: Performing Practices in Romantic Piano Playing. New York: Oxford University Press, 2012.
ISBN: 978-0-19-538691-2
Born To Conquer: The Fortepiano’S Revolution Of Keyboard Technique And Style, Rachel A. Lowrance
Born To Conquer: The Fortepiano’S Revolution Of Keyboard Technique And Style, Rachel A. Lowrance
Musical Offerings
The fortepiano had a rough beginning. In 1709 it entered a world that was not quite ready for it; a world that was very comfortable with the earlier keyboard instruments, especially the harpsichord. Pianists and composers were used to the harpsichord technique and style, which is drastically different from the piano. This is because the harpsichord was actually a very different instrument than the piano, as is explained in this paper. This paper traces the history of the piano's rise to dominance over the harpsichord, and how its unique hammer action began creating an idiomatic piano style. The piano also …
Tracing The Development Of Vivaldi's "L' Estro Armonico" Concerto No.8 In A Minor Through J.S. Bach And Samuil Feinberg's Keyboard Transcriptions: Exploring The Possibilities Of A Modern Authentic Performance, Andreas Xenopoulos
Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance
This document explores the development of the Concerto No.8 in A minor from the collection L’Estro Armonico by Antonio Vivaldi (1678–1741) through the transcriptions by Johann Sebastian Bach (1685–1750) and Samuil Feinberg (1890–1962). Feinberg was a Russian and Soviet pianist, composer and piano pedagogue, highly influenced by the teaching of Franz Liszt and the principles of the new, modern ‘piano school’ during the end of the 19th century. Biographical information about Samuil Feinberg along with the influences Franz Liszt had upon piano education in Russia and the Moscow conservatory in particular is offered. Two comprehensive comparisons between the two …
Volume 69, Number 04 (April 1951), John Briggs
Volume 69, Number 04 (April 1951), John Briggs
The Etude Magazine: 1883-1957
Dilemma in Detroit: Survivors of the Detroit Symphony Support Themselves with Odd Jobs and Look for a Successor to Sponsor Henry Reichhold
Zoltan Kodaly was my Teacher
How to Teach Adult Beginners
Music Has No Short-Cuts: Solid Careers Emerge Only for Unhurried, Systematic Training (interivew with Joseph Fuchs)
It's Free—It's Fun—It's Forum!
More About the Pharyngeal Voice: Widely-Used Method in the Golden Days of Italian Bel Canto
Class Piano Teaching Gets Results . . . A Successful Teacher Reveals the Formula She Has Developed Through Years of Trial and Error
Sing with Your Fingers
Volume 68, Number 03 (March 1950), John Briggs
Volume 68, Number 03 (March 1950), John Briggs
The Etude Magazine: 1883-1957
Richards Strauss . . . Conducting is a Difficult Business
Modern Piano Musical Metaphysics . . . Its Cause and Cure
How to Build a Voice Psychologists
Evaluate Music
So You Want to be a Piano Teacher
Structure of Music Clarence Dickinson—Pioneer of Church Music
Let's Simplify the Liebestraum Cadenzas Master Lesson on Brahms' Intermezzo in E-Flat Major, Op. 117,
No. 1 Musical Medicos
For TV Thrillers
Volume 17, Number 10 (October 1899), Winton J. Baltzell
Volume 17, Number 10 (October 1899), Winton J. Baltzell
The Etude Magazine: 1883-1957
Ages of One Hundred Famous
Singers
On Program Printing
Unprofessional Advertising
Dumb Pianos
About Tuning
How Leschetizky Teaches Memorizing
Little Knowledge
First Step in the Instruction of Young Children
To a Piano (poem)
Mechanical Music
Honesty in Advertising
Actual Effect of Music Upon an Imagination
Types of Teachers, or Mayburn's Madness
Music or Notes?
Development of the Artistic Sense
Lost Ideals
Value of the Musical Magazine
How to Memorize
What Makes Music Successful?
Studio Experiences: Experiences with the Pedal
Uninterested Pupil
Conservatory and Private Teaching: Another Phase of the Subject
Musical Don'ts
What are Musical Clubs For?
Volume 16, Number 01 (January 1898), Winton J. Baltzell
Volume 16, Number 01 (January 1898), Winton J. Baltzell
The Etude Magazine: 1883-1957
Suggestions for the Musical Youth
How Shall We Teach Notation to Beginners
The Gospel of Work
Musical Memory in Its Relation to Pianoforte Playing
How to Make a Living
Problem of American Teaching
Song Writers of the Day
One-Sided Musicians
Nothing But a Name!
Success is the Reward of Toil
Musical Listener
Sight-Reading
Art of Self-Criticism
Helpful Letters to Young Musicians
Cost of Study Abroad
Factors of Musical Expression
Sight-reading in Pianoforte Instruction
Why Do You Take Music Lessons?
Principles of Musical Pedagogy
Thoroughness in Primary Work
Music Education
Moral Influence of Music
Convenient Maxims, Formulas, etc. for Voice Teaching …
Volume 15, Number 09 (September 1897), Winton J. Baltzell
Volume 15, Number 09 (September 1897), Winton J. Baltzell
The Etude Magazine: 1883-1957
Would-Be Paderewski
Music No Hindrance to Getting On
Some Don'ts for Students Who are Going to Germany to Study Music
Playing in Public
From Recent Programmes
Neglected Essential: Music and Languages
Self-Exaltation
Time Values
Flowers by the Wayside
Not Yourself, But Your Art
Four Stages of Student Life
Physical Exercises an Aid to Artistic Piano Playing
How a Pupil Rose to Success
Should Piano Students Attend Piano Recitals?
For the Student's Encouragement
Reading New Music
Extracts from Reinecke's Hints to Music Students
Materials and Workmanship
Ear Training
Study on Phrasing
Reed Organ as an Aid in Piano Instruction
Musical Listener …
Volume 15, Number 08 (August 1897), Winton J. Baltzell
Volume 15, Number 08 (August 1897), Winton J. Baltzell
The Etude Magazine: 1883-1957
Piano and Our Girls
For Juvenile Recital: When Malindy Sings (poem)
Protecting the Artistic Sense
Can a Poor Ear be Improved?
Pianoforte Study
Whither Are We Drifting: Realism in Music
Wit of Composers
Musical Stage Fright
Bach Anecdotes
Liszt and Tausig
Story Teller: For Summer Reading
Counting Time
My Fellow-Students
Aids in Teaching Time Values
Guide to Pianists
Musical Listener
Automatism in Technic
Promising Indication
Musical Inconsistencies
Day's Practice
Appreciative Audience
Plea for Pimary Instruction in Harmony
Thoughts about the Most Salient Features of Music Life—Teaching and Otherwise
Truly Great Musician
How Music Affects Some People
Remarkable Definitions
Study the …
Volume 15, Number 04 (April 1897), Winton J. Baltzell
Volume 15, Number 04 (April 1897), Winton J. Baltzell
The Etude Magazine: 1883-1957
Modern Musical Definitions
Have I Talent?
Peculiarities of Popular Teachers
Mozart's Journey from Vienna to Prague: A Romance of His Private Life
Chat with Students on the Purpose of Study
Teachers Who Scold
How Do We Listen?
Ring-Finger
Hearing Colors
Musical Listener
Reading Course: Outline of Psychology
Leschetizky as a Teacher: Reminiscences of a Pupil
Keep Your Temper
Great Thoughts About the Hands
Dull Pupil
Concerning Practice and Other Points of Interest to Students
Calvé on American Musicians
Pianofore Study: Hints on Piano Playing
Volume 15, Number 03 (March 1897), Winton J. Baltzell
Volume 15, Number 03 (March 1897), Winton J. Baltzell
The Etude Magazine: 1883-1957
Musical Listener
Clayton Johns
On Choosing Music
First Lessons
Why We Have So Few Musicians
Some Wholesome Truths for Teachers
Sieveking's Mode of Practice
W.J. Henderson
Study the Nature of Melody
How Long Should One Practice?
Henry T. Finck
Soul of Music
Music Scrap-Book
Beginning and Development of Pianoforte Playing
Common Sense in Music
Mozart's Journey from Vienna to Prague: A Romance of His Private Life
Why Study Harmony?
Queer Traits of Great Musicians
Art of Programme-Making
Louis C. Elson
Backward Pupils
Volume 14, Number 11 (November 1896), Theodore Presser
Volume 14, Number 11 (November 1896), Theodore Presser
The Etude Magazine: 1883-1957
Some Things Which the Musical Profession Owes Itself
Music Chats with Children
American Artists
Class in Ear-Training
Mendelssohn's Piano Playing
Art and Ease
Artist vs. Amateur
Modesty in Music
Chopin's Notes for a Method of Methods
Is the Study of Music Profitable?
Difference Between Studying and Cramming
As a Man Thinketh So Is His Work
Thoughts About the Most Salient Features of Music Life—Teaching and Otherwise
Musical Mischief-Breeders
Beethoven and the Ladies
How to Stimulate Practice
Playing by Ear
Rough and Musical Bülow
Some Mistakes of the Provincial Musician
Correction
Is Mendelssohn to be Ranked Among the Great Composers?
Some …
Volume 14, Number 12 (December 1896), Theodore Presser
Volume 14, Number 12 (December 1896), Theodore Presser
The Etude Magazine: 1883-1957
One Hand Alone
Submerged Melodies
Fillmore, John C.
Intention and Success
Playing by Memory
Evil of the Time
Avoidance of the Commonplace
Music Chats with Children
Music Teachers' Problem
Theodor Kullak
Let Singers Beward of Doctors
Humorous Incident
Is Marriage Inimical to Music? If so, Why?
New Story of Paganini
Plea for My Last Teacher
Needs of Piano Students and How They May be Secured
Secret of Musical Expression
Extract
For the Suppression of Din
Why Study Musical History?
Obstacles They Met, and How They Overcame Them: Lessons in Perseverance from the Lives of the Masters
Most Difficult Piece
How …
Volume 13, Number 10 (October 1895), Theodore Presser
Volume 13, Number 10 (October 1895), Theodore Presser
The Etude Magazine: 1883-1957
Hardest Piano Piece
Modern Musical Crank
Absent-Minded Musicians
Art and Artlessness
Creed of the Well-Taught Pupil
Other Side of the Story
Difficult Passages as Etudes
That Other Teacher
Types of Piano Teacher
Extemporization
Interesting Interview with Verdin
Listening to One's Own Playing
Discouragements of Piano-Playing
Woman and Music
Reform Needed
Account of the Gavotte
Liszt and Chopin
Suggestions for Musical People
Lecture Recital
Phenomenal Voices
Worse Than Wasted
How Composers are Inspired
Piano in Small Parlors
How I Read the Etude
Study of Music: Small Children be Made to Study Music, Talent or no Talent?
Philosophic Reflections
Points in Music …
Volume 13, Number 09 (September 1895), Theodore Presser
Volume 13, Number 09 (September 1895), Theodore Presser
The Etude Magazine: 1883-1957
When to Begin
Organize Organize!!
Beethoven, Mozart, Haydn, and Others for Teaching Purposes
Lesson in Concords and Discords
Parallel
True to Art
Use of the Metronome in Practice
Misconceptions
What Dvorak Says
Why Woman is not a Composer
To Be or Not to Be
Gift of Song
Why Good Music is Good
No Royal Road
Guilmant on American Music
Friends and Their Friendship
Real Study and Its Relation to Playing by Ear
Quality, Rather Than Quantity
What Ought to be Played
Idols Shattered
So-Called Conservatories
Expression and Phrasing
Humorous in Instrumental Music
Nervousness in Piano-Playing
Consideration
Does Music Describe?
Public …
Volume 13, Number 07 (July 1895), Theodore Presser
Volume 13, Number 07 (July 1895), Theodore Presser
The Etude Magazine: 1883-1957
One Way to Abuse Classical Music
Music is not Music if it Has No Soul
Lessons in Listening
Musicians' Creed
Musical Prodigies
Neglected Branch of Piano Teaching
How to Succeed in Music Teaching
How to Reach the Pupil: Four R's
Rubinstein: The Man and the Musician
Lack of Public Sympathy for Musical Art
Self-Criticism, an Important Factor in Piano Study
Few More Don'ts
Study Essential
Personality in the Musical Life
Remedies Effected Through the Medium of Four-Hand Playing
Scherzo
Art of Teaching Children
Receptive, But Critical
Volume 13, Number 06 (June 1895), Theodore Presser
Volume 13, Number 06 (June 1895), Theodore Presser
The Etude Magazine: 1883-1957
Some Reflections on the Study of Music at the Piano
Music, Home and Wife
How to Work, or the True Gradus ad Parnassum
Crescentic Keyboard
Their Characteristics
Boxing as an Aid to Piano Playing
Country Teacher
Teach Music
Music in Education
Is it a Waste?
Wealth and Poverty of Musicians
Pupil of To-Day
Musical Individuality
Reading, Listening, and Thinking
Little Story
Alphabetical Musical Rhyme
Phrasing
Choosing a Teacher
What Shall be Taught Beginners
Why So Many Failures?
Pianistic Mannerisms
Pushing and Pulling
Use of the Metronome
Liszt and Mendelssohn
Musical Prejudices
Teaching and Playing
Playing for Pupils
How to Sing …
Volume 13, Number 12 (December 1895), Theodore Presser
Volume 13, Number 12 (December 1895), Theodore Presser
The Etude Magazine: 1883-1957
Great Composers of Music
Piano Playing and Analysis
Getting Better Work from Pupils
Slow Practice
Taste and Teaching
Difficulties of a Piano Teacher
Music as It is Taught
Ludwig Schytte (autobiography)
Berceuse by Ludwig Schytte
Spoiled Child
Description of Danse Macabre
Limits of the Ear
Study in Dates
Jealousy Among Pianists
How to Become a Pianist
Almost Discouraged
Wrist Training Before Finger
Non-Success
Prejudice in Musical Art
How to Pronounce Them
Why Should We Study Harmony?
Enigmas
Commendable List of Music—Grade I to X
Volume 12, Number 11 (November 1894), Theodore Presser
Volume 12, Number 11 (November 1894), Theodore Presser
The Etude Magazine: 1883-1957
Some Methods of Popularizing Songs
Jests That Instruct
Courage in Music
Influence of Music
Two Lessons or One Lesson a Week?
Right Beginning
Ways and Means, and—Results
Egoism
Our Country Teachers—Some Hints for Their Advancement
How to Make Practice Easy
Godard's Characteristics
Machine Pupils
Rheumatism of the Hand and Arm
Foreign Titles and Foreign Names
Hints to Young Composers
Conflict Between Public School Work and Music
Habits of Music Pupils
Does Music Describe?
Portamento Touch
Music (Male) Teacher's Work
Suggestions to Musical People
Power of Association
Amateur Musical Club
Paderewski's Tone and Touch
American Pianists (photos)
Volume 12, Number 10 (October 1894), Theodore Presser
Volume 12, Number 10 (October 1894), Theodore Presser
The Etude Magazine: 1883-1957
General Directions to be Observed when Playing for Others
True Ideal of Music Teaching
Accompanying in Theory and Practice
Musical Advancement: A Suggestion to Parents
Proper Scale Practice
Taste
Listening to Music: A Few Words to Concert-Goers
Topics for Reflection
Magazines for Pupils
Strengthening Pianists' Fingers
Worrying
Franz Liszt's Letters
Handel's Sarcasms
How to Learn Music
Why Not a Graded Catalogue of Music With Which to Begin Teaching?
Little Items for Pupils Worth Knowing
Specimen Programmes for Graduating Pupils
Over Our Tea Cups
Whims of Composers
How to Analyze
Longevity of Composers
Pre-Eminence of the Pianoforte as a Medium for …
Volume 12, Number 09 (September 1894), Theodore Presser
Volume 12, Number 09 (September 1894), Theodore Presser
The Etude Magazine: 1883-1957
Mental Practice
Amateur Musical Society
Art, Versus Muscular Power
Stray Toughts
Why Give Etudes
Summing Up of the Year's Work
Listening to Music: A Few Words to Concert-Goers
Specimen Programmes for Pupils, Hints as to Methods of Study Performance
Left Hand
Study of Hymn Tunes
Aphorisms
Musical History Examinations
How to Make a Simple Musical Cabinet
Time Reading
Woman's Life of Liszt
Some Curious Habits in Pupils, and Relections Thereon
Well Known
Must Teachers be Performers?
All Piano Pupils Should Study Harmony
Importance and Peculiarities of the Pianoforte
Different Ways of Composing
Gleams from Bohemia
Can Expression Be Cultivated?
Musical …
Volume 12, Number 07 (July 1894), Theodore Presser
Volume 12, Number 07 (July 1894), Theodore Presser
The Etude Magazine: 1883-1957
Intellectual Attitude of Instrumental Practice
Some Abuses of Music
Gleams from Bohemia
Where Are We At?—Mechanical Aids to Piano Practice
Conservatory Graduates
Life of Richard Wagner
Modern Musical Progress
Duet Playing
Mozart at Marseilles
How to Conquer a Difficult Passage
Annette Essipoff
Getting Pupils to Do More Thinking
Knowledge of Harmony Indispensable to All Musicians
Beethoven Sonatas Not For Children
Clerious Elocutes
How to Buy a Piano