Musicology Commons^™

Music Of The Divine: Interweaving Threads Connecting Contemporary Chant-Based Piano Repertoire, Jeremy D. Duck

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

The purpose of this document is to prove chant remains an important source of inspiration among living composers, and, despite the number of piano works already incorporating chant, composers today are still finding unique ways to include chant in their music. To achieve this objective, representative works have been selected for research and analysis for four of the major chant traditions. Connor Chee’s The Navajo Piano, Victoria Bond’s Illuminations on Byzantine Chant, and Hayes Biggs’ E.M. am Flügel: Poem-Étude for Piano Solo, though the chants from which they are inspired are diverse in concept and style, they …

Chopin’S Piano Sonata No. 3 In B Minor Op. 58: A Structural Analysis, Maverick Harrold

Theses/Capstones/Creative Projects

Chopin’s Piano Sonata No. 3 in b minor Op. 58 is an incredibly important composition to the world of music. This work will uncover many of the unique facets and features of this piece as well as discover the beautiful intricacies of each of the four movements. By learning about this sonata, the reader will gain an understanding of the importance of musical structure and musical form and will gain insight into the ways of Chopin’s compositional style and of romantic piano music as a whole.

From Story To Song: Exploring The Storytelling Potential Of Instrumental Music, Celine Darr

Honors Projects

For this project, I have composed a piece of program music with the aim of capturing scenes from Hans Christian Andersen's "The Little Mermaid" through music. The project seeks to answer questions regarding the elements that make instrumental music "programmatic", or able to portray a story.

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.

A Bird’S Eye View: Large-Scale Tonal Structures In Robert Schumann’S Four Song Cycles (Op. 42, 24, 39, And 48), Peter Kramer

Dissertations, Theses, and Capstone Projects

Some of Robert Schumann’s most notable works are his Lieder for solo voice and piano accompaniment. Schumann's Lieder are considered some of the best compositions in this genre, engendering various interpretations by performers and exciting vigorous debate among musicologists and theorists. Robert Schumann’s early music was almost entirely composed for the piano alone; it wasn’t until 1840 that he started to compose almost exclusively Lieder and song cycles inspired by his predecessors Beethoven and Schubert. This was a prolific year for Schumann compositionally, in part due to his marriage to Clara Schumann who was one of Europe’s most preeminent piano …

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 …

From Improvisation To Artistry: A Study Of The Piano’S 12 Sides By Carter Pann, Louis Claussen

Glenn Korff School of Music: Dissertations, Theses, and Student Creative Work, and Performance

Intended as a resource for pianists who may analyze or perform Carter Pann’s The Piano’s 12 Sides, this study provides biographical information on the composer and explores his professional relationship with the pianist for whom it was composed, Joel Hastings. Each piece from The Piano’s 12 Sides is discussed in terms of form, melody, harmony, texture and Pann’s approach to the pianistic compositional idiom. The composition is also examined with regard to extra-musical details and programmatic elements as well as inspiration and dedications that influenced Pann’s compositional process.

Correspondence and interviews with the composer reveal the motivation and inspiration behind …

Fragments D'Un Diari Musical, Antoni Pizà

Publications and Research

Vetllada musical al pis d'Ursula Oppens. A pesar de les connotacions vuitcentistes que pugui tenir qualsevol saló musical, Ursula no és ni una Guermantes ni una Verdurin, sinó una defensora tenaç dels segles XX i XXI. Elliott Carter, John Adams, Lutoslawski, Ligetic, etc., tots els grans compositors des segles XX i XXI li han dedicat obres, i ella, amb els seus enregistraments, alguns amb nominacions als Grammys, ha estat la gran advocada del pianisme contemporani als EUA.

A Comparative History And The Importance Of Chamber Music, Aaron M. Sacks

Capstone Projects and Master's Theses

This capstone presentation focuses on the role of chamber music in both social and academic contexts. Using examples from the past five centuries and including local examples, parallels and divergences are drawn to points of most import. The spotlight is upon three areas: a) what the role of chamber music was in the past, compared to today; b) why it is an important genre, to both musicians, as well as non-musicians, and c) in what ways more exposure to the form can be built. Much of the focus is on composers and their influence, but the impact of and upon …

Searching For Modeling Of Stravinsky's Petroushka In Poulenc's Rapsodie Nègre: Poulenc's Use Of Popular Forms And Techniques In His Earliest Work, Jeremy Rover

Senior Theses

Why does the view that French composer Francis Poulenc was a musical hack and a fraud continue to be discussed today? To get to the bottom of this, we need to look at the evidence available and find proof to back up these claims. In the predominant research on Poulenc, many scholars mention musical themes and quotations linked to other composers, but most of these claims aren’t backed up with specific examples or score studies. Therefore, in this paper I attempt to trace the “crime” to its source by showing Poulenc’s possible borrowing of harmonies, thematic material, styles, and rhythms …

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 …

The Life And Selected Piano Works Of David Burge, Mary Chung

Dissertations

Although David Burge is recognized as one of the most important American pianists dedicated to contemporary music in the twentieth century, little is known about his contributions as a pedagogue, lecturer, writer, novelist, and, especially, as a composer. This biographical study focuses on three of his piano compositions: Second Sonata, Eclipse II, and Go-Hyang. Each work represents one of three distinct compositional periods: the first reflects the influence of Prokofiev and features characteristics of the neoclassicism; the second marks a turn to experimentalism, atonality, and serialism; and the final indicates the return to a more traditional style that makes use …

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 …