Dissertations / Theses: 'Keyboard music'

1

Bennight, Brad. "The Keyboard Music of Peter Philips." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30436/.

Full text

Abstract:

The keyboard works of the English virginalist Peter Philips have been little studied in comparison with his more famous contemporaries, William Byrd, John Bull and Jan Pieterszoon Sweelinck. While Philips left comparatively fewer keyboard works than these composers, his music contains very unique attributes. This study compiles the latest research of Philips' life as well as an analysis of representative works showing many of the individual and uncommon features to be found in Philips' works for keyboard. Pieces from all genres of Philips' keyboard output are represented and discussed, including Pavanes and Galliards, Fantasias and Intabulations of madrigals. Musical examples of each of these works are provided. A description of the instruments needed for the performance of the music and an illustration of the rare type of keyboard instrument required in the Pavana and Galliarda Dolorosa is included. A discussion of Philips' style, particularly regarding ornamentation, is included with a comparison to the works of his contemporaries.

APA, Harvard, Vancouver, ISO, and other styles

2

Spicer, Junghee Kim. "A study of keyboard proficiency requirements for non-keyboard music majors in universities and conservatories /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11341.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Memed, Orhan. "Seventeenth-century English keyboard music - Benjamin Cosyn." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315899.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Memed, Orhan. "Seventeenth-century English keyboard music : Benjamin Cosyn /." New York ; London : Garland, 1993. http://catalogue.bnf.fr/ark:/12148/cb358549289.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Newton, Mark Brian. "A remote interactive music keyboard tuition system." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1004860.

Full text

Abstract:

A networked multimedia system to assist teaching music keyboard skills to a class is described. Teaching practical music lessons requires a large amount of interaction between the teacher and student and is thus teacher intensive. Although there is a range of computer software available for learning how to play the keyboard, these programs cannot replace the guidance of a music teacher. The possibility of combining the music applications with video conferencing technology for use in a keyboard class is discussed. An ideal system is described that incorporates the benefits of video conferencing and music applications for use in a classroom. A design of the ideal system is described and implemented. Certain design and implementation decisions are explained and the performance of the implementation examined. The system would enable a music teacher to effectively teach a music class keyboard skills.

APA, Harvard, Vancouver, ISO, and other styles

6

Craford, Mary Elizabeth. "Inventory of modern American cello-keyboard literature /." Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11847815.

Full text

Abstract:

Thesis (Ed.D.)--Teachers College, Columbia University, 1994.
Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore M. Pogonowski. Includes bibliographical references (leaves 89-104).

APA, Harvard, Vancouver, ISO, and other styles

7

Ceballos, Sara Gross. "Keyboard portraits performing character in the eighteenth century /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619148891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Berberian, Marina. "Exploring Armenian keyboard music : roots to modern times." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/1604.

Full text

Abstract:

The extended program notes include historical facts of the composers and characteristics of the pieces being performed. The thesis also includes information about Armenian composers starting from 18th to the 20th century, composition's historical background, brief biographies of the composers as well as analysis of form and structure. The graduate piano recital comprised the following compositions: Sayat Nova - R. Andriasian Yes Mi Kharib Blbuli Pes; Komitas - R. Andriasian Garun a, Shoker Jan, Dzirani Dzar, Gakavik; A. Khachaturyan Poem; A. Babadjanyan Elegy in Commemoration of A. Khachaturyan; E. Bagdasarian Humoresque, Prelude in D Minor, Prelude in B Minor; A. Babadjanyan Improvisation and Traditional from six Pictures; A. Babadjanyan Prelude and Vagarshapat Dance; A. Arutyunian Dance of Sasoon; A. Arutyunian - A. Babadjanyan Armenian Rhapsody for Two Pianos.

APA, Harvard, Vancouver, ISO, and other styles

9

Chung, David Yu-Sum. "Keyboard arrangements of Lully's music and their significance for French harpsichord music." Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/252310.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Kim, Hae-Jeong. "The Keyboard Suites of Matthew Locke and Henry Purcell." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501040/.

Full text

Abstract:

This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.

APA, Harvard, Vancouver, ISO, and other styles

11

Brookes, Virginia Sheila. "The sources of British keyboard music to c 1660." Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267092.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Chan, Siu-ying Susan. "Hans von Bul̈ow as an editor of keyboard music /." [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12358988.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

陳小艿 and Siu-ying Susan Chan. "Hans von Bu¨low as an editor of keyboard music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208095.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Arsenyan, Hayk. "Performance guide to three keyboard sonatas of Antonio Soler." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/332.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Reef, John S. "Perspectives on phrase rhythm in J. S. Bach's keyboard fugues." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623241.

Full text

Abstract:

This dissertation posits that an essential aspect of temporal experience in Bach's keyboard fugues resides in the interaction of their inherent repetition with a general, unsystematic trend toward longer phrases as the pieces unfold, and it inquires into how this interaction takes place. This inquiry necessitates a subsidiary inquiry into the segmentation schemes operative in these fugues and into how these schemes promote phrase-rhythmic continuity. Analytical methodologies draw mainly from Schenkerian theories of phrase rhythm, as exemplified by the work of William Rothstein and Channan Willner, while interpretation refers to recent scholarship on musical meaning, as represented by the work of Robert Hatten and Steve Larson, and to the observations of Johann Mattheson, who wrote sensitively about the experience of repetition in fugues, and Ernst Kurth, who described qualities of fluidity that pervade the fugues of Bach, among others.

After Chapter 1 introduces the scope of the dissertation's investigations, Chapter 2 surveys the literature on fugue that impinges on phrase rhythm. The survey is arranged in four categories: literature on how thematic repetition interacts with segmentation, literature on the rhythm of repetition, literature on motion and fluidity, and literature on durational spans. Methodological foundations in Chapter 3 include Rothstein's "imaginary continuo," grouping, meter, tonal rhythm, sequences, and the Fortspinnungstypus; this chapter introduces my distinction between "literal" and "figurative" grouping, which addresses problems of grouping in polyphonic textures, and my notion of "thematic rhythm," whereby impressions of rhythmic equivalence among thematic repetitions color our experience of repetition. Chapter 4 then focuses on segmentation at the levels of the phrase and the period, and it proposes certain types of "compound" phrases in which thematic repetition associates with segments longer than the original subject. It also identifies some vehicles of continuity among segments, including "deep thematic overlap," in which a subject crosses the boundary of two segments and may inspire gestural interpretation; and "counterphrasing," in which rhetorical and tonal goals of phrases are separated, engendering fluidly ambiguous impressions of phrase or period articulations. Finally, Chapter 5 investigates the generation of longer phrases through the enlargement of a fugue's subject.

APA, Harvard, Vancouver, ISO, and other styles

16

Weidenbach, Vanda Geraldine, of Western Sydney Nepean University, and Faculty of Education. "The Influence of self-regulation on instrumental practice." THESIS_FE_XXX_Weidenbach_V.xml, 1996. http://handle.uws.edu.au:8081/1959.7/494.

Full text

Abstract:

The main purpose of this dissertation was to explore the psychomotor and cognitive characteristics of the practice behaviours of a group of novice keyboard instrumentalists and to identify those factors which had most significant influence on performance achievement. The pivotal question guiding the study was 'How can one characterise the effects of practice strategies on the performance outcomes of this group of novice performers?' Six research questions were examined. The first three concerned student predisposition, practice procedures, and performance achievement. The second three questions examined the relationships between personal characteristics, practice behaviours and performance outcomes. The results of the study indicate that some beginners are capable of cognitive engagement in the execution of practice. Students who planned, analysed and evaluated practice strategies, both mentally and physically, were identified as self-regulated learners. These students were the more successful achievers. Students who made use of the technology, specifically for instructional purposes, made more gains that those that did not. Accumulated practice was not found to influence performance achievement. Implications for future research on this little explored subject were included
Doctor of Philosophy (PhD)

APA, Harvard, Vancouver, ISO, and other styles

17

Sherlock, James Francis. "Cognitive processes involved in recognizing compositional style in keyboard music." Thesis, Coventry University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402669.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Chess, Susan Lorrainne. "Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123721766.

Full text

Abstract:

Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 141 p.; also includes graphics (some col.). Includes bibliographical references (p. 127-134). Available online via OhioLINK's ETD Center

APA, Harvard, Vancouver, ISO, and other styles

19

Pingel, Kathy. "The intermediate and advanced piano music of Dmitry Kabalevsky: pedagogical implications." University of Southern Queensland, Faculty of Arts, 1997. http://eprints.usq.edu.au/archive/00003837/.

Full text

Abstract:

This study investigates the intermediate and advanced piano repertoire of 20th Century Russian composer, Dmitry Borisovich Kabalevsky, with the main focus being on the artistic and pedagogical relevance of these works.Background details of the composer's life, as they pertain to these works and to his style of composition, were gathered through a review of the literature found in books, doctoral theses, encyclopedias, journal articles and programme notes accompanying compact disc recordings and editions of his music.A selection of Kabalevsky's intermediate and advanced piano compositions was chosen for an in-depth analysis of their artistic, technical and pedagogical aspects. A broad examination of their structure is also made. The works selected for analysis include Concerto No. 2 in G minor Op. 23, Numbers 1,2,3,4,6 and 24 from Twenty-Four Preludes Op. 38 and Sonata No. 2 in E flat major Op. 45. In order to gauge both the level of awareness and usage of Kabalevsky's piano repertoire, two written surveys were formulated and issued to teachers and performers within Australia. The first of these (Survey A) was distributed to private studio teachers, most of whom were teaching at an elementary and intermediate level, whilst the second one (Survey B) was sent to teachers who were likely to have had experience in teaching and/or performing more advanced works. In order to determine the frequency with which Kabalevksy's piano works are set for examinations, a review of various syllabuses, including the Australian Music Examination Board (AMEB), Trinity College of London and Austrlaina and New Zealand Cultural Arts Limited (ANZCA), was undertaken. These findings, together with the results of the surveys (which include comments made by a number of teachers/performers within Australia about a selection of these pieces) and the researcher's in-depth analyses, were all considered in ascertaining the usage and level of awareness of Kabalevsky's intermediate and advanced piano repertoire within Australia and the artistic and pedagogical contribution of these works. The in-depth analyses of a selection of Kabalevsky's intermediate and advanced piano works revealed that Kabalevsky made a worthy contribution to the piano literature of this standard, and that these works are also of considerable pedagogical value. The feedback from the surveys revealed that whilst most of the respondents had a high repect and regard for Kabalevsky's elementary piano compositions, the usage and familiarity with his intermediate and advanced works was significantly less. Many of the factors suggested for the lack of awareness of this repertoire were extraneous to the merits of the pieces themselves and, hence, it is hoped that a greater awareness of its existence and an appreciation of the artistic and pedagogical contribution of this literature, will bring it to the attention of students, teachers and performers alike.

APA, Harvard, Vancouver, ISO, and other styles

20

Yoshimura, Eri. "Risk factors for piano-related pain among college students and piano teachers solutions for reducing pain by using the ergonomically modified keyboard /." Thesis, connect to online resource. Recital, recorded Apr. 14, 2006, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/ark:/67531/metadc1469.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Rúa, Olga María. "A historical overview of Carlos Seixas's works for solo keyboard and a performance guide based on analytical observations including pedagogical annotations and analysis of four of his keyboard pieces." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/880.

Full text

Abstract:

(Jose Antonio) Carlos de Seixas (1704-1742) is an important figure in the European keyboard music of the beginning of the 18th-century. He composed around 700 sonatas for keyboard, of which only around 105 are known today. They demonstrate a high execution level that can be compared with J. P. Rameau (1683-1764), J. S. Bach (1685-1750), Domenico Scarlatti (1685-1757), Padre Antonio Soler (1729-1783) and other important composers of his time. Like Scarlatti and Soler, Carlos Seixas is positioned in an important transitional period in the history of music. He and his contemporaries are situated between true giants of Western Art Music: before and, in part, during Seixas's life time lived G. F. Haendel (1685-1759) and J. S. Bach (1685-1750); and after Seixas came F. J. Haydn (1732-1809), W. A. Mozart (1756-1791), and L. van Beethoven (1770-1827). During this transitional time in the first half of the eighteenth century, from the baroque to the classical eras, several stylistic trends coexisted--- the baroque, the new galant style, the empfindsamer Stil, and the pre-classical. This essay is divided into four chapters. In Chapter One I discuss the sources for Seixas scholarship followed by a historical overview of seventeenth- and eighteenth- century Portugal as well as a brief biographical sketch of Seixas's life. Chapter Two includes a discussion of Seixas's musical style and form. I examine various facets of his compositional style, including some commonalities found in many composers' works during the transitional period between the Baroque and pre-Classical. I also explore other facets of his keyboard writing such as the use of violin idioms, folkloric sounds, and symphonic textures. In Chapter Three I examine in greater detail Seixas's keyboard writing. I start with descriptions of the instruments that Seixas may have used and of his keyboard writing. I also examine available scholarship for guidelines on performing early eighteenth-century keyboard music in general--including specific approaches to ornaments, articulation, improvisation, rubato, and the like--before turning to Seixas's keyboard sonatas in particular. The last chapter, Chapter Four, includes elements for the analysis of Seixas's sonatas; I choose four of these sonatas for more in-depth analysis of formal and tonal structure. The four selected sonatas represent different formal schemes and stylistic characteristics, which demonstrate the variety within Seixas's solo keyboard pieces. They show great contrasts in form, relationship of movements, and thematic treatment: Sonata No. 16 in C minor presents only one movement in free binary form; Sonata No. 27 in D minor has three movements with no evident relationship among them and toccata elements in the first movement; Sonata No. 42 in F minor also has three movements but the last two movements relate thematically and the first movement presents imitative counterpoint; and Sonata No. 59 in A major represents pre-classical tendencies in texture and structure, presenting three movements connected as a whole through cyclical thematic ideas in the outer movements and a second movement, in A minor, that links to the last movement by means of an open ending. In addition, Chapter Four includes pedagogical insights from an analytical standpoint and annotations for the use of Seixas's sonatas as teaching resources. As part of this chapter's pedagogical resources, I also list additional sources for understanding performance practice of eighteenth-century music, review the available editions of Seixas's solo keyboard compositions, and list the primary performers of his keyboard works. Finally, the appendices to this essay include two cataloguing tables: the first (Appendix A) catalogues a selected group of Seixas's sonatas with detailed descriptions of their technical difficulties, and the second (Appendix B) catalogues all eighty sonatas according to level of difficulty. In addition, the scores of all four sonatas analyzed in Chapter Four are provided in two forms: Appendices C, D, E, and F contain the original Seixas score as edited by Seixas's preeminent scholar Santiago Macario Kastner; Appendices G, H, I, and J contain my performer's scores for the same four sonatas, that is, annotated versions of Kastner's editions.

APA, Harvard, Vancouver, ISO, and other styles

22

Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Kranias, Alison. "Verovio's keyboard intabulations and domestic music making in the late Renaissance." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98544.

Full text

Abstract:

At the end of the sixteenth century, Simone Verovio printed a series of canzonetta anthologies in Rome. These collections were unique, in that they contained keyboard and lute intabulations alongside their vocal parts. The keyboard intabulations seem primarily intended as accompanimental parts. As such, they inform us about the use of keyboard instruments in ensembles of mixed voices and instruments. This thesis examines how the printing format of Verovio's keyboard intabulations arose from a larger context. In particular, it asks what were the skills and training of amateur keyboard players (often women), when or when not to transpose pieces with chiavette (or high clefs), and how instrumental embellishments relate to the canzonetta's text as well as musical texture. This examination contributes to a better understanding of Italian sixteenth-century performance practice, especially of the ways in which instruments were used along with voices in domestic music making.

APA, Harvard, Vancouver, ISO, and other styles

24

Harrison, Bernard M. "Aspects of performance practice in the keyboard music of Joseph Haydn." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315062.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Lee, Ji-Eun. "A comparison of the keyboard sonatas of Domenico Scarlatti and Antonio Soler." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7844.

Full text

Abstract:

Bibliography: leaves 56-57.
The main objective of this study is to investigate the relationship between Domenico Scarlatti and Antonio Soler through a comparison of their backgrounds, a discussion of various influences on their works, and their placement within the historical context of the development of the keyboard sonata, Among their most prominent similarities are their inspirations found in the use of national Spanish elements in their compositions and also their modification of and experimentation with formal structure. Both composers' sonatas were composed using structural practices already in place. However, it was through experimentation and modifications, which resulted in increased virtuosity in others, that they bridged the gap between the Baroque and the Classical periods, and contributed profoundly to the development of the keyboard sonata.

APA, Harvard, Vancouver, ISO, and other styles

26

Jeoung, Ji-Young. "An analysis of Joan Tower's solo keyboard works." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/778.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Judd, Robert Floyd. "The use of notational formats at the keyboard : a study of printed sources of keyboard music in Spain and Italy c.1500-1700, selected manuscript sources including music by Claudio Merulo and contemporary writing concerning notations." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253860.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Kirsten, Ryan Kenneth. "An investigation into the process of transcribing keyboard works for guitar duet." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/76609.

Full text

Abstract:

The purpose of this study is to investigate the process of transcribing keyboard music for guitar duet. Throughout history, few of the most important and prolific composers were guitarists or ever wrote for the guitar. This has resulted in the need for guitarists to expand the repertoire by arranging and transcribing music, originally written for other instruments or ensembles, for guitar solo, duet, trio, quartet or even larger groups. Furthermore, it is my hope that this study can serve as a guideline for prospective transcribers.
Mini Dissertation (MMus (Performing Art))--University of Pretoria, 2020.
Music
MMus (Performing Art)
Unrestricted

APA, Harvard, Vancouver, ISO, and other styles

29

Ramacciotti, Paolo. "Elektron Elohim : a cosmic oratorio for soloists, chamber choir, electric guitars and keyboard synthesisers." Thesis, University of West London, 2016. https://repository.uwl.ac.uk/id/eprint/2961/.

Full text

Abstract:

The doctoral composition concerned by this document is a contemporary oratorio of 95 minutes: it involves seven solo singers (two sopranos, a mezzo, two altos, a tenor and a bass), a polyphonic chamber choir (divided in three to sixteen parts) and an electroacoustic quartet of guitars and synthesisers. The title refers to the otherworldly guardians of the Jewish canon (Tanakh) and speculates on the energetic appearance of the Elohim, reflected by the timbral qualities of the electronic instruments. The narrative, built around four angelic characters (Seraphim) and a female earthling counterpart, outlines in seven movements a fictional cosmogony, and the evolution of human society overseen by astral mentors. The libretto has been written on purpose by the composer himself, mostly in Italian: some multi-linguistic fabrics blend poetry with Christian fragments in Greek and Latin.

APA, Harvard, Vancouver, ISO, and other styles

30

Yandell, Nigel J. "Keyboard music in Russia during the late eighteenth and early nineteenth centuries." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296086.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Taylor, Angela Ruth. "Understanding older amateur keyboard players : music learning and mature adult musical identity." Thesis, UCL Institute of Education (IOE), 2009. http://eprints.ioe.ac.uk/20594/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Wong, David Tze Wan. "Music making amongst the Chinese communities in Sabah, Malaysia : the keyboard cultures." Thesis, University of Sheffield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419332.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Huron, D. "Voice segregation in selected polyphonic keyboard works by Johann Sebastian Bach." Thesis, University of Nottingham, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234610.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Georgiou, Christina. "The historical editing of Mozart’s keyboard sonatas: history, context and practice." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1117/.

Full text

Abstract:

This thesis investigates the editing and publishing of music from the late-eighteenth century until present day, with particular reference to W. A. Mozart’s sonatas for solo keyboard. The Introduction provides a concise description of the topic and, through a literature review, illustrates the purpose of this thesis and its place within relevant research. Chapter One consists of a historiographical study of terms which are vital to the further investigation of editing and interpretation, such as ‘work’, ‘text’, ‘intention’ and ‘Werktreue’, also addressing relevant issues of musical ontology and eventually establishing a working definition for this study. A description of the late eighteenth-century context within which Mozart’s Keyboard Sonatas were composed and published is provided in Chapter Two, exploring the musical culture, the place of keyboard music within contemporaneous repertory and the printing and publishing practices of that time. Chapter Three investigates Mozart’s relationship with publishers and the extent of his involvement in the publishing process, going on to examine the relationship between his autograph manuscripts and the first editions of the sonatas in the eighteenth-century Case Study. The nineteenth-century context within which Mozart’s works were reproduced is analyzed in Chapter Four, through a discussion of the rise of musical literacy and of the evolution of printing and publishing in Europe, and especially in Germany. Chapter Five investigates the formation of editorial practices in the nineteenth century, underlining their theoretical framework and desired outcomes. Posthumous historical editions of Mozart’s Keyboard Sonatas are presented in Chapter Six and are juxtaposed with the primary sources in its nineteenth-century Case Study. Chapter Seven sets the twentieth century scene, featuring the evolution of musicology and technology, as well as the growth of the urtext ideal and its relevance to the rise of Urtext Editions during the second half of the century. Modern Mozart scholarship and its impact on editions is the subject of Chapter Eight, which features a Case Study comparison of selected twentieth-century historical editions with their nineteenth-century counterparts and the primary sources. Chapter Nine addresses the digital transformation of music publishing during the first decade of the twenty-first century, featuring comparisons of a twenty-first century edition with preceding editions in the Case Study, while the Epilogue that follows, elaborates on the future perspectives of editing and publishing.

APA, Harvard, Vancouver, ISO, and other styles

35

Anderson, Ron James. "The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/242454.

Full text

Abstract:

Dietrich Buxtehude (ca. 1637-1707) was a North German composer of the mid-Baroque period. He lived in a time and place in which classical rhetoric, the study of oratory, influenced education, religion, and music. Applying the definition of rhetoric as the art of persuasion, this study surveys the different persuasive strategies employed by Buxtehude in his various keyboard genres. The elements considered in this inquiry include the affects of keys and modes, rhetorical figures, and structures of speeches as applied to music. The style and setting (ethos), intellectual content (logos), and emotional effect (pathos) are explored in each genre as elements of rhetorical persuasion. This study reveals that different genres of Buxtehude's keyboard music utilize different rhetorical strategies and techniques. These strategies vary according to the purpose of the music (i.e., secular or sacred), the presence or absence of an associated text, and the form of the composition. The chorale preludes, since they are driven by texts, use figures such as hypotyposis, assimilatio, anabasis and catabasis, to musically highlight important words in the text, or to amplify the text's underlying meaning. The suites, and parts of the variations, reflect the affects of the various dance movements as described by Johann Mattheson, Gregory Butler, and Patricia Ranum. The rhetorical nature of contrapuntal works is considered in terms of solving a musical issue through musical proofs, as described by Daniel Harrison. Finally, the praeludia embody the rhetorical form of the classical dispositio, or form of a forensic speech. These sectional works are arranged in such a way as to advantageously present both emotional and intellectual facets of a musical oration.The study also asserts that it is stylistically appropriate, given the audience-centered values of rhetorical persuasion, to perform Buxtehude's manualiter works at the piano, providing that they are played in a manner consistent with the style and structure of the music. This view is fortified by evidence that Baroque musicians, compared to modern musicians, were far less specific about instrumentation and musical details. An appendix offers specific performance suggestions for pianists in each of the works discussed in the study.

APA, Harvard, Vancouver, ISO, and other styles

36

Hayashi, Kim. "The keyboard music of Frederic Anthony Rzewski with special emphasis on the "North American Ballads"." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187152.

Full text

Abstract:

"The Keyboard Music of Frederic Anthony Rzewski With Special Emphasis on the North American Ballads" focuses on the piano works by Frederic Anthony Rzewski. Opening chapters are devoted to Rzewski's life and his activities, particularly his special political and social associations, and those musicians, composers and performers who have been an important part of his life, and to the development of his music. There is a special chapter on the piano variations The People United Will Never Be Defeated, as this piece brought to fruition many of Rzewski's compositional techniques, particularly those used in the North American Ballads. As Rzewski suggested that this author investigate the folk music of North America, a chapter centered on those aspects of folk music used in the Ballads is also contained herein. The paper is focused on an in-depth analysis of the North American Ballads with a fully-annotated score. A chapter on some of Rzewski's other important piano pieces and a complete works list is also included.

APA, Harvard, Vancouver, ISO, and other styles

37

Moroni, Frederick. "Keyboard ensembles in Britain : piano trios, quartets, quintets and their antecedents, 1756-1800." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319071.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Carey, Gemma Marian. "New Understanding Of 'Relevant' Keyboard Pedagogy In Tertiary Institutions." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15909/.

Full text

Abstract:

In current times, issues of curriculum relevance are driving a raft of reforms and reviews in higher education. The unmet needs of students in terms of employment outcomes, particularly in the area of the performing arts are increasingly a matter of concern. For tertiary music training institutions, the need to attach greater importance to student needs has forced a more critical reappraisal of curriculum priorities. An effect of this has been ongoing contestation and debate within music institutions about the nature and purposes of music curriculum as a university offering. This thesis examines the implications of the above by undertaking an investigation into the relevance of keyboard curriculum, as it is currently understood in one tertiary institution, a Conservatorium of Music. It examines the contestation over student needs that is apparent within the curriculum of keyboard within such an institution. The aim is to improve the institution's capacity to respond appropriately to 'student needs' by better understanding issues about curriculum relevance. This is done by investigating how needs become articulated within this particular institution and curriculum domain and by investigating the effect these needs articulations have on the practices of those who teach and those who learn within this domain. The study uses the conceptual work of Nancy Fraser (1989) and Elizabeth Ellsworth (1989) and a doctoral study by Erica McWilliam (1992), to focus on needs articulations or needs talk that is related to the needs of keyboard students within this Conservatorium. This talk, which is generated in management, staff and student texts, is examined as produced out of systems of language use that are employed within and outside the Conservatorium. The analysis of the talk treats the contestations and struggle over student needs in the Conservatorium as products of, and productive of, power relations. The analysis reveals discourse communities that are not only fractured from within but which share very little common language. It demonstrates how systems of language use at work within the Conservatorium marginalise students at the same time as they permit the institution to continue its traditional work and practice. The study clearly demonstrates how the institution itself is actively producing 'failing' and 'blaming' students as discursive subjects. The conclusion is drawn that more attention needs to be paid to building shared communities that share a common discourse, rather than trying to wedge more 'relevant' material into the curriculum.

APA, Harvard, Vancouver, ISO, and other styles

39

Gastesi, Latorre Estibaliz 1970. "Basque keyboard music of the eighteenth century: A study of its contribution to the Iberian repertory." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282659.

Full text

Abstract:

This study attempts to analyze and place in a historical context, the keyboard music written during the eighteenth century by composers born in two of the provinces of the Basque Country, Vizcaya and Guipuzcoa. Although some of these composers wrote pieces in other genres such as solo (versos) and polyphonic religious music, it is in the keyboard pieces that their response to contemporary trends in European musical taste, and the resulting developments in musical elements such as harmony and form can be observed. Also, in this repertory, the interaction of the Basque composers with the leading musicians working on the Peninsula at the time can be more clearly detected. These surviving sonatas and other keyboard pieces show that, in the eighteenth century, the implementation of new styles was not limited to the musical centers closely related to the courts of Madrid and Lisbon. Of the published studies on Spanish keyboard music there is insufficient data about the Basque composers, and the few books dedicated solely to the subject are mainly biographical surveys. The Basque keyboard music of the eighteenth century has been neglected due to the difficulty in finding printed scores as well as reference works that would help in their study. It is hoped that this study will provide a better understanding of this repertory, and that it will receive its deserved place among the keyboard literature produced by other cultures in the same period.

APA, Harvard, Vancouver, ISO, and other styles

40

Lockett, Mark Peter Wyatt. "Improvising pianists : aspects of keyboard technique and musical structure in free jazz, 1955-1980." Thesis, City University London, 1988. http://openaccess.city.ac.uk/8259/.

Full text

Abstract:

The jazz avant-garde of the 60s and 70s has often been depicted as a movement that signalled the end of jazz as we had come to know it, a movement of unbridled musical energy and passion without the essential restraining influences of formal guidelines and reverence for - traditions. With the benefit of hindsight, from observing the almost neoclassical stance of jazz in the 80s, the notion that this music signified the genre's Armaggedon was patently a misconception. This thesis argues that free jazz was as much a style, concerned with finding its own voice and technical vocabulary, as any other period of jazz history. As an analytical and critical study of pianists and their use of the piano in free jazz and improvised music, this survey is designed to fill a gap in musicological research of this important artistic movement, which hitherto has been primarily concerned with biography and with related sociological issues. The study traces the piano through the turbulent years of radical experirnentalism in jazz and the subsequent refinement in free improvisation in Europe and the U.S. through the work of pianists central to the movement. Rather than adopting the chronological approach, this study considers the music under broad headings specifically related to technique; the instrument's position within the group, and the generation of form, motivic structure and 'language'. Chapter 1, by way of introduction, outlines the argument of what constitutes the 'freedom' in free jazz and looks at the early development of the avant garde as it arose in opposition to the prevailing traditions of bebop and contemporary notated music with special reference to three influential pianists: Herbie Nichols, Lennie Tristano and Thelonius Monk. Chapter 2 is concerned with new concepts in overall form, while Chapter 3 takes a closer look at the smaller components, or motifs, of modular improvisatory structure. Chapter 4 examines the physical nature of piano tones, their unique qualities of sustain and resonance and their changing patterns of distribution in this music; looking at 'space' firstly in the sense of the piano's natural resonance and the pianists whose work has explored this particular characteristic, and secondly, the physical space involved in the act of playing, the sense of movement or kinaesthesis. Chapter 5 will concentrate on the dynamic and percussive approach to free jazz piano. Chapter 6 turns from the physiological to the psychological processes of improvisation; how the opposing forces of habit and originality assert themselves in the improviser's art. Chapter 7 will form a brief conclusion.

APA, Harvard, Vancouver, ISO, and other styles

41

Page-Shipp, R., and Niekerk C. Van. "Mental models in the learning and teaching of music theory concepts." Journal for New Generation Sciences, Vol 11, Issue 2: Central University of Technology, Free State, Bloemfontein, 2013. http://hdl.handle.net/11462/637.

Full text

Abstract:

Published Article
A retired physicist attempting to master elements of music theory in a short time found the Mental Model of the keyboard layout invaluable in overcoming some of the related learning challenges and this has been followed up in collaboration with a professor of Music Education. Possible cognitive mechanisms for his response are discussed and it is concluded that his engrained learning habits, which emphasise models as found in physics, are potentially of wider applicability. A survey of the use of Mental Models among competent young musicians indicated that although various models are widely used, this is largely subconscious. The practical question of whether exposure of students to the keyboard would assist them in mastering music theory remains unresolved.

APA, Harvard, Vancouver, ISO, and other styles

42

Zafranas, Nikolaos. "The effects of piano-keyboard instruction on cognitive abilities of female and male kindergarten children." Thesis, Brunel University, 2003. http://bura.brunel.ac.uk/handle/2438/5350.

Full text

Abstract:

In several studies, children who received piano instruction achieved better results on spatial-temporal tasks than various control group children did. This difference, though, was not always statistically significant. Gender differences favouring boys in spatial abilities appear to exist in children as young as 4 1/2 years old. However, research linking piano instruction to spatial abilities did not report gender differences. This thesis had three main investigative objectives: to control if children would show significant improvement in cognitive test scores following piano-keyboard instruction; to compare if certain cognitive tasks such as the spatial tasks would show greater improvement than other, non-spatial, tasks; to examine if the effects of pianokeyboard training on spatial tasks are gender differentiated. Sixty-one kindergarten children, aged five to six years, participated in this research receiving two piano-keyboard lessons weekly during the school year 2001-2002. Six subtests from the Kaufman Assessment Battery for Children were administered before and after the instruction period. Results revealed that participants improved significantly in the Hand Movements, Gestalt Closure, Triangles, Spatial Memory, and Arithmetic tasks following pianokeyboard instruction. No significant improvement was found in the Matrix Analogies task. Pre-tests in all sub-tests showed no significant gender differences. At post-testing though, boys significantly outperformed girls in the Hand Movements task while their gain scores were significantly higher than girls' scores in the Triangles task. This research has demonstrated that piano-keyboard instruction produced enhanced spatial-temporal test scores in kindergarten children, and that these scores were gender differentiated. These findings are unique in presenting a gender difference in gain scores following piano-keyboard instruction favouring boys. It is hoped that these findings contribute to the growing body of research investigating the extra-musical effects of music instruction and that in the future, kindergarten program administrators might consider music and piano-keyboard instruction as an integral part of kindergarten education.

APA, Harvard, Vancouver, ISO, and other styles

43

Marney, Dylan. "The Application of Musico-Rhetorical Theory to Stretto, Double, and Triple Fugue: Analyses of Contrapuncti V-XI from J.S. Bach's The Art of the Fugue, BWV 1080." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/301477.

Full text

Abstract:

Analysis of Johann Sebastian Bach's (1685-1750) keyboard works and the study of fugue are often complemented by an understanding of Baroque rhetorical theory. In the Baroque Era, the principles of oration and argument established by Greek rhetoricians were thought of as analogous to musical ideas and forms. Notable Baroque theorists Joachim Burmeister (c. 1566-1629) and Johann Mattheson (1681-1764) related the fugal process to an active and elaborate discourse. They connected the basic parts of rhetorical disposition to fugue in an attempt to define and clarify its skeletal framework. While the concept of musico-rhetorical disposition schemes seems to be an attractive design for many Baroque theorists, it is difficult to apply such an analysis to stretto and double/triple fugues. This type of analysis sectionalizes the fugue in restrictive ways, linking particular musical techniques to different areas as would divide an oration. This document suggests that specific rhetorical figures do not need to be seen as fitting pre-set standard areas (e.g., propositio, confutatio, conclusio), but can derive from the context of each particular fugue, since they serve a prevailing musical function. Bach's stretto and double/triple fugues from The Art of the Fugue, BWV 1080 are particularly difficult masterpieces to comprehend, and there is little precedence for the application of rhetorical figures to fugues of these types. This document examines Contrapuncti V-XI from The Art of the Fugue, and can serve as a model for rhetorical analyses of complex fugal processes.

APA, Harvard, Vancouver, ISO, and other styles

44

Beck, Kimberly Jean. "The Dance movements of Christian Flor in Lüneburg Mus. Ant. Pract. 1198." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/226.

Full text

Abstract:

This is a study of the dance movements of Christian Flor including in Lüneburg Musica Antica Practica 1198. It includes a short biography of Christian Flor, a study of the French influences on Flor and the influence Flor had on his German contemporaries as shown through his dance movements. The final chapter is a critical edition of the dance movements.

APA, Harvard, Vancouver, ISO, and other styles

45

Bakradze, Nino, and Nino Bakradze. "A Study of Otar Taktakishvili’s Piano Suite: The Influence of the Georgian National Instruments Salamuri, Chonguri, Panduri, Duduki, and Doli." Diss., The University of Arizona, 2018. http://hdl.handle.net/10150/626620.

Full text

Abstract:

Georgian composer, teacher, conductor, and musicologist Otar Taktakishvili (1924–1989) played a leading role in the revival of Georgian art music in the second half of the 20th century. Despite his multiple duties and close relationship with the USSR regime, Taktakishvili consistently wrote music based on Georgian traditional folk music, hence imprinting and preserving the national Georgian identity through his compositions. These nationalistic influences appear prominently in several of his piano suites and are ubiquitous in the Piano Suite written in 1973. In the Piano Suite (1973), Taktakishvili adapts and recreates the sonorities, registers, coloristic effects through textural layering and articulations, rhythmic patterns and performance practices of selected Georgian folk instruments at the piano. He creates a unified suite by evoking the sound characteristics of his national instruments. The Piano Suite is unique and likely the only suite in the piano literature based on the imitation of a group of folk instruments, and as such deserves a place in the scholarly literature on world piano music. An analysis of the pianistic resources used by Taktakishvili to imitate the unique musical qualities and performance practices of five popular Georgian folk instruments reveals a reliance on repetitive rhythmic figures, textural layering, imaginative articulation, and deft use of the registers of the piano. The composer also distinctively implements characteristic modes and harmonic language to evoke the flavor of Georgian folk music.

APA, Harvard, Vancouver, ISO, and other styles

46

Englehardt, Patricia Ooi. "The Effect of the Yamaha Music In Education Keyboard Instructional Approach on the Musical and Nonmusical Outcomes of Middle School Students." Scholarly Repository, 2006. http://scholarlyrepository.miami.edu/oa_dissertations/48.

Full text

Abstract:

The purpose of this study was to determine the effect of the Yamaha Music In Education (MIE) keyboard instructional approach on selected musical and nonmusical outcomes of middle school students. One hundred and thirty-four middle school students from Miami, Florida were involved in the study. Experimental group participants (n = 68) received the MIE keyboard instructional approach, and were compared to a control group (n = 66) with no music instruction. The study was implemented for the academic school year from November 2004 to April 2005. Musical outcomes were reflected in students' music achievement and music attitudes. Music achievement was measured using the Iowa Tests of Music Literacy (ITML) (Gordon, 1991), and music attitude was evaluated through the Instrumental Music Attitude Inventory (IMAI) (Fortney, 1992). The nonmusical outcomes included students' motivation and self-esteem, using the Achievement Motivation Profile (AMP-Junior Form) (Mandel, Friedland, & Marcus, 2006), and the Coopersmith Self-Esteem Inventory (SEI) (Coopersmith, 1981) respectively. Report card grades in math and reading, as well as school attendance records were obtained from the participating school to measure students' academic achievement and school attendance.

APA, Harvard, Vancouver, ISO, and other styles

47

Mauricio, Rachel D. "An Investigation of the Retention of Keyboard Skills of Non-Piano Music Majors at the Collegiate Level." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245293761.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Ledbetter, David. "Harpsichord and lute music in seventeenth-century France : an assessment of the influence of lute on keyboard repertoire." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:525956f0-fd49-4649-94e5-c52ad46221cb.

Full text

Abstract:

The view that the lute exercised an important influence on the formation of French harpsichord style in the seventeenth century is a commonplace of musicology which has not until now been thoroughly investigated. This thesis is an attempt to determine the nature of that influence taking into account as much of the available relevant material as possible. The first chapter outlines the status and function of stringed keyboard instruments, particularly in the late sixteenth and early seventeenth centuries, using a wide variety of non-musical sources whether literary, archival, or documentary. It also charts the relative standing of the two instruments and the interrelationship of their repertoires as viewed by contemporaries throughout the seventeenth century. The second chapter provides a survey of the evolution of French lute style based on a detailed study of most of the French lute sources from the period cl600-cl670 and including the more important sources from cl670-cl700. The third chapter presents detailed comparisons of individual works existing in versions for both lute and keyboard. These are based on numerous parallel transcriptions presented in the second volume. The material for this section is provided by a concordance file for virtually all French seventeenth-century lute sources designed to be usable in conjunction with Gustafson's keyboard catalogue. The final chapter is an attempt to define the degree of affinity existing between particular features of the central harpsichord style and that of the lute on the basis of principles established in the previous discussions. This thesis contains the first detailed discussion of the works of the principal seventeenth-century French lutenists in the context of a survey of the general development of the lute style. Numerous illustrative examples of hitherto unpublished lute music are included in the second volume. The final chapter also discusses some new sources of French harpsichord music dating from the late sixteenth and early seventeenth centuries, with transcriptions. Also discussed for the first time is the Premier Livre (1687) of Elizabeth Jacquet de la Guerre, and a transcription of a suite supposedly written in imitation of the lute is given. A comprehensive concordance of pieces existing in versions for both lute and harpsichord is given in Volume II.

APA, Harvard, Vancouver, ISO, and other styles

49

BERN, ALAN SETH. "SIDEWAYS." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1145547580.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

高舒 and Shu Phyllis Kao. "Affective gesture in J.S. Bach's keyboard music with special referenceto selected works in D minor." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31213145.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Keyboard music'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles