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Kalendarev, Natalya. "Medtner : his beliefs, influences and work /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11435.
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Chernaya-Oh, Ekaterina. "The Skazki (Fairy tales) of Nikolai Medtner the evolution and characteristics of the genre with compositional and performance aspects of selected fairy tales /". Thesis, Recital, recorded Sept. 25, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9115.
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Thesis (D.M.A.)--University of North Texas, 2008.System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Nov. 3, 2003, Sept. 25, 2006, and Nov. 26, 2007. Includes bibliographical references (p. 53-56).
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Choi, Hanna. "Documenting developing performance : rethinking Nikolai Medtner at the piano". Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/16528.
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This research illustrates the performer-researcher's artistic process of reaching an understanding of music through performance, and explores how an effort to understand music at the instrument and in the context of music-making could influence our critical evaluation of the music. Engaged in the process of learning music, I seek to document my artistic practices as a reflective practitioner: to open up the performer-researcher's workspace, communicate the performativity of the music, and reveal my embodied doing-thinking as a performer. By involving in the performer-researcher's physical and intellectual trajectory, the focus of musicological research could be shifted from the study of music as writing to a practice-based study that communicates and values music as performance. This shift provides a chance to rethink musical works at the piano and place the music in a context in which music can be understood, communicated, and valued through performance. This has the potential to shed light on the performative value of music, and may challenge the existing critique of musical works by emphasising the centrality of musical performance in the realm of music research, perhaps revealing what has been neglected by the text and outcome-focused approaches to music. I believe this could lead us to assess musical works in a different value system by considering the music in and as performance.
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Karpeyev, Alexander. "New light on Nikolay Medtner as pianist and teacher". Thesis, City University London, 2014. http://openaccess.city.ac.uk/13011/.
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This dissertation introduces the ‘Edna Iles’s Medtner Collection’ (EIMC), held by the British Library in London, and provides a detailed analysis of her ‘Notes on the Interpretation of Medtner’s Works’. Nikolay Medtner (1880–1951) was one of Russia’s leading, early-20th-century composers, who spent the latter part of his life in the UK. He wrote mainly for the piano, composing 14 piano sonatas, three piano concertos, 108 songs, three violin sonatas, a piano quintet and more than 90 pieces for solo piano. Although he performed and recorded, and was considered a prominent composer while he was resident in the UK, his wider renown in the West was limited. Edna Iles (1905–2003) was an English pianist and Medtner’s last pupil. She took numerous notes during and immediately following her lessons and, in 1997, donated all of her Medtner-related materials to the British Library. I am the fourth person to consult it. The scope of the EIMC is impressive: Medtner manuscripts, newspaper cuttings, photographs and letters, all of which she carefully organized before donating. Importantly, her ‘Notes on the Interpretation of Medtner’s Works’ contain unique information about how he taught and thought his music should be interpreted. She was, in fact, the only Medtner student to leave systematic written evidence of his pedagogy; the recordings she made of his music further demonstrate her mastery of his principles. She became, in effect, his disciple. This dissertation assesses the new light her ‘Notes’ shed on our knowledge of his methods and pianism. The Introduction provides details of Medtner reception history and introduces all available sources on Medtner performance practice. Chapter 1 summarizes the lives of Medtner and Iles, and elucidates the nature of their relationship. Chapters 2 through to 4 discuss the disciplines of Medtner’s approach to playing – basic piano technique, articulation, practicing, pedaling and memorization – corroborated elsewhere. Chapters 5 and 6 unravel the more intellectual concepts of fil rouge, tempo, phrasing, voicing and his distinction between energetic and rounded music that form the core of Iles’s ‘Notes’ and represent the EIMC’s most original contribution to Medtner performance practice. Chapter 7 provides the opportunity to observe and apply Medtner’s interpretive philosophy to a single work (Sonate-Idylle, Op. 56) by blending the advice conveyed in his printed scores with the methodology and insights he communicated to Iles. The Conclusions affirm the importance of the EIMC as a uniquely detailed primary source on Medtnerian performance practice. An inventory of the Edna Iles Medtner Collection and transcript of her ‘Notes on Interpretation of Medtner’s Works’ can be found in Appendices One and Two. Appendix Three offers a facsimile of exercises Medtner gave to Iles, preserved in her own handwriting. Appendices Four and Five provide a discography of Medtner piano works and pertinent contextual photographic evidence.
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Pitts, James L. "Symmetrical features of Medtner's language the Grozovaya sonata, opus 53, no. 2 /". view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses/open/19993/pitts%5Fjames%5Fl/index.htm.
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Tauscheck, Jonathan Paul. "A performance guide to two fairy tales of Nickolai Medtner". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3544.
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Gavel, Leo. "Nikolai Medtner Sonata Reminiscenza Op. 38 no. 1 : analys av form och musikaliskt innehåll". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1834.
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I detta examensarbete analyseras den ryska kompositören Nikolai Medtners Sonata Reminiscenza Op. 38 no. 1 från ett harmoniskt, motiviskt och strukturellt perspektiv. Denna analys innefattar också reflektioner kring några av författarens interpretationsmässiga val. Syftet med studien är att undersöka hur styckets form och harmonik kopplar det samman såväl med den klassiska kompositionskonstens regler som med Medtners artistiska/poetiska mål. Studiens resultat påvisar att verket är såväl kompositionstekniskt fulländat som känslomässigt rikligt. Sonatformen är på ett sofistikerat vis implementerad i verkets struktur och återfinns som en integrerad del i musikens narrativ.
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Hsu, Shu-Hao. "Nicolai Medtner's Piano concerto no. 3, op. 60: musical style and performance strategies". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3469.
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Nicolai Medtner (1880-1951) is regarded as an accomplished composer and one of the most brilliant pianists of his time. He composed numerous compositions for piano that fall into three main categories: piano solo, piano with voice, and piano chamber music. He composed four large-ensemble pieces, including three concerti and the piano quartet in C major.
This essay will concentrate on the lesser-known Piano Concerto
No. 3, subtitled "Ballade." This three- movement work is extremely challenging because of its large and complex structure. Gaining a clear understanding of the structure and its formal innovation is paramount for performance success. It is my hope that this essay will contribute to bringing this piece into the standard repertoire.
There are four chapters in this essay. In Chapter I, a general discussion of the composer's life and his music will be presented. The background of the concerto will be introduced and the purpose of this essay will be discussed in Chapter II. In Chapter III, a detailed analytical discussion of the structure of the concerto will be presented, in order to clarify the structure and the use of thematic materials. Lastly, practice and interpretative suggestions for this concerto will be discussed in Chapter IV.
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Ponomarchuk, Aleksandr. "Tempo and rhythmical principles al rigore and flessibile in selected works by Nikolai Medtner: a study and recording". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6486.
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Nikolai Medtner (1880-1951) was a Russian composer, pianist, and piano teacher. His musical output consists of 61 opuses, most of which are compositions for piano. These include 3 piano concerti, 14 piano sonatas, 38 Tales, the 3 cycles of Forgotten Melodies and many other works.
In recent years, interest in Medtner has surged. International festivals, conferences, and competitions dedicated to Medtner have taken place in Europe and Russia, with scholars and performers devoting greater attention to his work. All of Medtner’s piano works are now available on CD. However, the interpretation of Medtner’s works and the implementation of his tempo-rhythmical concepts fil rouge, al-rigore, and flessibile are not fully studied and remain a gray area in performance practice. The importance of tempo and rhythm in the interpretation of Medtner’s music is evident from his own recordings, published editions of his compositions, his book Daily Work of the Pianist and Composer, and his teaching instructions, as documented by students like Edna Iles.
This project aims to produce a recording, that reflects Medtner’s vision of tempo and rhythm in his selected pieces. This includes compositions, previously recorded by the composer: Tales op. 20 no. 1 and no. 2 Campanella, Tales op. 34 no. 2, and no. 3, and Improvisation, op. 31 no. 1, and works, not recorded by him: Second Improvisation, op. 47, Marche Funebre, op. 31 no. 2, and Conte, op. 31 no. 3.
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Koh, Min Yu. "Medtner's Acht Stimmungsbilder, Op. 1: A Pedagogical Guide with Analysis". OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/748.
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Rachmaninov regarded Nikolai Medtner as the greatest composer he had ever known, yet Medtner's music is often neglected in the standard repertoire. Lack of public awareness, as well as the technical and musical difficulties in these works, both contribute to their inaccessibility. Unlike Rachmaninov's music, Medtner's music possesses none of the romance and sentimentality, thus lacking in immediate appeal. However, with repeated listening, it gradually reveals its beauty and brilliance. This document examines Medtner's Acht Stimmungsbilder, Op. 1, from a pedagogical viewpoint. Chapter One provides a short biographical background. Chapter Two discusses Medtner's musical style and his publication, The Muse and the Fashion. Chapter Three is devoted to a pedagogical analysis of the work. The last chapter concludes the paper with a suggested order of study. This set of work is technically challenging and is selected with the advanced-level or college student in mind. These students would have had experience performing 19th Century works and is looking to expand their repertoire. This pedagogical guide is written for the reference of the teacher, however, the student may find this useful to them as well.
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Pitts, James L. "Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2271/.
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Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya Sonata, Opus 53 No.2, is the most concentrated and abstract of his works. The themes are built from highly lapidar motives, giving this work an intensely angular, rigorously mathematical character. All the symmetrical hallmarks of Medtner's language are in abundant evidence in this great work. Features include the extensive symmetrical mirroring of the opening section, frequent use of contrary voice leading as a generator of harmonic progression, and constant tritone shifting. Medtner also builds sequential chains based on two more symmetrical forms, the diminished seventh and the augmented triad. Finally, the design of this unique single movement sonata may be a hybrid of sonata form with palindrome. The Grozovaya Sonata is a microcosm of the symmetrical features of Medtner's language.
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Kafarova, Saida Allen Gregory Pearsall Edward. "An introduction to Nikolai Medtner and performance analysis in dialogue form of his works for two pianos - Russian round dance and Knight errant". 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3110726.
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szu-en, Chen, i 陳思恩. "A Study of “Sonata minacciosa” by Nicolai Medtner". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/4z33fd.
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碩士國立高雄師範大學
音樂學系
99
Among modern Russian musicians, Medtner did not acquire apparent status in the international music status. Although Medtner, born in Russia, had identities of both pianist and composer, he hardly performed in public. Instead, Medtner was devoted to composing pianistic pieces and received high praise from some composers. He worshiped L. v. Beethoven all his life, and his pianistic compositions had usually followed traditional forms which was different from either Nationalism composing techniques or Modernism prevailing at that time. Therefore, Medtner was unable to be widely recognized then. Medtner’s “Grozovaya Sonata”, composed in 1931, is presented in Sonata form of single movement. This piece has a neat structure and is divided in three main parts: Exposition – Development – Recapitulation. Moreover, there are some specialties such as fugue added in the Development and cadenza inserted in the Recapitulation. With strong rhythm and rich techniques, its musical style is much different from other lyric pieces Medtner had ever made. This thesis is divided in four chapters. Chapter I is the introduction which presents research motivation, extent, and literature review. Chapter II shows the origin of musical style and brief background, which briefly introduces the lifetime of Medtner, situation of composing, and the background of this piece. Chapter III is the form analysis of “Grozovaya Sonata”, which looks in depth at the structure, materials, and form of this piece. Chapter IV is the conclusion which sums up all the researcher’s discoveries and analyses.
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Yeh, Huey-jing, i 葉惠菁. "A Research and Interpretation of Piano Sonata “Reminiscenza” by Nikolai Medtner". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/86947111484437813808.
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碩士東吳大學
音樂學系
97
Medtner is a composer who was almost forgotten by the people in the music world. He was born in Russia and studied at the Moscow Music Conservatory. He got the highest honor, the “Golden Medal” when he was graduated from the piano department in the school. As being a composer and pianist of exceptionally high caliber, all of his compositions involve the piano, including the piano concerto, piano sonata, piano pieces, vocal pieces and chamber music. He is expecially known by his characteristic music- the fairy tales. Although his compositions relied totally on traditional forms, his clever pianistic writing and distinctive harmony and use of rhythm makes his works unique. Rachmaninoff, who had great respect for Medtner as a pianist and composer, said: “ Medtner is too much an individual to bear resemblance to anyone except the Russian composer Medtner.” The sonata “Reminiscenza” is the first piece in Medtner’s suite for piano entitled “Forgotten Melodies”, Opus38. This sonata was structured in sonata form, and contains a single movement. Because of the highly lyrical and poetic nature of the work, “Reminiscenza”, Medtner stated, was the most favorite all his piano sonatas. This thesis has a total of five chapters. Chapter one is the introduction. Chapter two contains the life and the music of Medtner. Chapter three and four focus the analysis and the performing practice of the “Reminiscenza”, including the background of this piece, the form, the elements of the melody, the mode, the harmony, and the rhythm. The last chapter is the conclusion of this thesis.
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"The Opus 41 Vocalises of Nikolai Medtner: Background, Analysis, and Performer's Guide". Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44157.
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abstract: The concert vocalise, a dazzling wordless vocal etude intended for performance, is largely a phenomenon of the twentieth century. Made famous by composers such as Sergei Rachmaninoff and Maurice Ravel, the concert vocalise is generally a short, non-programmatic work with a relatively simple form. In contrast, Nikolai Medtner’s two monumental Op. 41 vocalises, the Sonata-Vocalise mit einem Motto “Geweihter Platz and the Suite Vocalise, are staggering in their length and formal complexity. They are also programmatically conceived, sharing the Goethe poem “Geweihter Platz” as their inspiration.
The innovation of adding a textual element to a traditionally textless genre introduces a tantalizing new layer of complexity that demands further research and exploration. However, as with any innovation, it also offers new challenges to performers wishing to program either or both works. Current scholarship has yet to offer any kind of in-depth analysis of either work, leaving questions as to the structural and motivic elements which bind these large works together, not to mention questions related to exactly how Medtner addresses the challenge of linking specific parts of Goethe’s text to the textless portions of music. Furthermore, neither work is considered standard repertoire, and recordings and performances are limited, leaving aspiring performers in something of an informational desert.
In this paper, I endeavor to fill this informational gap for performers and scholars alike by providing them with a brief biography of Medtner, an outline of the development of the concert vocalise genre, and the background of the Goethe poem that inspired Medtner. Then my in-depth analyses reveal underlying structural, motivic, and programmatic links both within and between the works. Finally, my performer’s guide, based on the analyses and my experience performing both works, offers suggestions regarding the interpretational, ensemble, and technical challenges presented by these great works.Dissertation/Thesis
Doctoral Dissertation Music 2017
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Hou, Yi-Wen, i 侯依妏. "An Analysis and Interpretation of Sonata Triad Op.11 by Nikolai Medtner". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/24616197683299548722.
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碩士輔仁大學
音樂研究所
101
Russian composer Nikolai Karlovich Medtner (1880 - 1951) studied composition and piano at the Moscow Music Conservatory. He won the Glinka Prize twice in his career. He was not only a composer, but also a distinguished pianist. Piano music and songs are the most representative in his works. Medtner admired Beethoven very much. His compositions relied on classical tradition form, attached importance to the structure, and followed out the Romanticism style. Medtner wrote 14 piano sonatas, which have very important position in his creations. Sonata Triad (Opus 11) was completed in 1904 - 1907, it was a group of three one-movement sonatas. This work demonstrates the characteristics of Medtner’s music style, and it is also quite favorite work of composer himself. This thesis has total of five chapters. Chapter one is the introduction. The second chapter outlined Medtner’s life and works, including the compositional artifice and style. Chapter three and four are depth discussion of analysis and interpretation of Sonata Triad. The last chapter is the conclusion of this thesis.
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Kafarova, Saida. "An introduction to Nikolai Medtner and performance analysis in dialogue form of his works for two pianos - Russian round dance and Knight errant". 2003. http://hdl.handle.net/2152/11980.
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Kuan, Ta-Wei, i 官大為. "An Interpretation and Analysis on Nikolai Medtner''s "Forgotten Melodies I, Op. 38"". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/4duybp.
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Lu, Yi-Chen, i 呂宜蓁. "An Analysis and Interpretation of Fairy Tales, Op.14, 26, 48 by Nikolai Karlovich Medtner". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/nr7szb.
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碩士國立臺灣師範大學
音樂學系
106
The Russian composer N. K. Medtner’s works mainly include piano music. One of his greatest contributions to the art of music is the creation of a new piano genre—“Skazki”. Medtner’s compositional career is divided into five periods, and his Skazki pieces were written in his golden age. In this thesis, one piece of Medtners’ Skazki music produced in each of the three periods is respectively selected for further analysis, namely Op. 14, Op. 26 and Op. 48. This thesis consists of six chapters. Chapter One is an introduction of the current study. The second chapter introduces the biography and works of the composer, followed by the origin as well as the application of Skazki. Chapter Three to Chapter Five present the analyses of the three Skazki pieces, and individually discuss the differences of interpretation among these works. The last chapter unfolds the conclusion of this study. Results of the current study reveal that Medtner’s Skazki works fuse traits of both traditional and modern music. The traditional traits are demonstrated in the tonality and composition techniques. For instance, the pieces of Medtner’s Skazki often conform to tonal music theory and adapt traditional composition techniques. The rhythm of Skazki music, however, resembles more to modern music rather than traditional one. Accents are more often put on weak beats or irregularly placed. These characteristics evidently display Medtner’s creative inspiration in Skazki music. In spite of Medtner’s contribution to the art of music, his works have received less attention than they do now, and research into his work is relatively scant. It is thus expected that this thesis could draw more people’s attention to Medtner and his Skazki works.
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Tseng, Shao-Wen, i 曾劭玟. "Analysis and Interpretation of 2 Fairy Tales, Op. 20 by Nikolai Karlovich Medtner/Shao-Wen Tseng Piano Recital". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/69814348235536563568.
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碩士東吳大學
音樂學系
100
At the end of 19th century to the early 20th century, under the influence of political background, States the rise of nationalism, all nationalist strong-rich Western music music appeared in color, this article is intended to take a short work of the two fairy tales (Two Fairy Tales) to explore the Russian composers in this period Methner (Nikolai Karlovich Medtner, 1880-1951) composed of features and style. Russian composers of the period with Methner Rachmaninoff (Sergey Rachmaninoff, 1873-1943) on the writing techniques and Methner different, through the analysis and comparison of works in both of their styles. This study would start with literature study, through Methner wrote to friends in letters, websites, biography described in records, and correspondence of Rachmaninov's forth And so on, learn about life; through analysis to verify documents recorded in the composition of the music style features finally depend on Rachmaninov's comparison of composition techniques, understanding their different writing styles. The full text is divided into six chapters: Chapter one: introduction, Chapter two: biography and musical style of Methner, Chapter three: piano pieces to the fairy tale musical style, Chapter four: music analysis, Chapter five: musical interpretation, Chapter six: conclusion. Hope the study will lead the reader to Methner a further understanding./Shao-Wen Tseng Piano Recital 1.Ludwig Van Beethoven:Piano Sonate Op.2 Nr.3 in C Major 2.Nicolai Karlovich Medtner:2 Fairy Tales, Op. 20 3.Domenico Scarlatti:Sonaten k.135 in E major/ k.67 in f# minor 4.Frederic Chopin:Nocturnes Opus 55Nr.1 in f minor 5.Franz Liszt:Ungarische Rhapsodien Nr.11
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Shin, Haeshin. "Nikolai Medtner's Forgotten Melodies, op. 38: sources, analysis, and interpretation". Thesis, 2018. https://hdl.handle.net/2144/30197.
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Nikolai Karlovich Medtner (1880-1951) was a Russian composer, pianist and pedagogue. While active during the period of Modernism, he was one of the last descendants of the nineteenth-century tradition. Without a doubt, Medtner was considered one of the most brilliant successors of the Russian piano school, though his compositions did not particularly bring him a great deal of popularity in his time. Nonetheless, his unique style of writing has always attracted a small circle of musicians and admirers, and more recently, there has been a remarkable resurgence of interest in Medtner’s music. In the 2000s, several recent prizewinners of the International Tchaikovsky Competition – Daniil Trifonov, Dmitry Masleev, and Lucas Debargue – have shown their special interest in Medtner’s music, and this has drawn public attention to Medtner’s major piano works.
However, discussions regarding performance practice and interpretation in playing Medtner have only recently begun. Although dissertations focused on Medtner’s music began to appear in the 1960s, primary sources have been examined by only a limited number of scholars, due to geographic and linguistic barriers.
This dissertation aims to formulate and answer performance practice issues to develop a practical approach to learning and performing Medtner’s piano compositions. Since the primary sources related to op. 38 are comparatively abundant, and the work contains several pieces of contrasting character, Forgotten Melodies can serve as a good model for developing an informed approach to interpreting Medtner’s piano music.
Analyses of three major types of material are provided to trace the chronological development of ideas in op. 38: sound recordings of Medtner’s own playing; written records by the composer and his student; and the score Medtner had on which he noted down his ideas. In addition to Medtner’s publication The Muse and the Fashion, unpublished diaries and essays found at the Medtner Archive (‘Fond Metnera’) of the Glinka National Museum of Musical Culture (Moscow, Russia) have also been examined.
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Bitzan, Wendelin. "The Sonata as an Ageless Principle: Nikolai Medtner’s Early Piano Sonatas: Analytic Studies on their Genesis, Style, and Compositional Technique". 2018. https://slub.qucosa.de/id/qucosa%3A35073.
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The dissertation focuses on the early piano sonatas of Russian composer Nikolai Karlovich Medtner (1880–1951). It approaches them in the context of genre history, confronts them with other composers' works, and discusses them from various analytic perspectives. A special goal is to consider the pieces in the aesthetic environment of their time, and to regard them as peculiar instances of the ›sonata principle‹, an ageless conception of musical form.
The study is subdivided in three large parts, the first of which presents a summary of sonata composition before Medtner, exploring lines of tradition in Western Europe and Russia. The second part concentrates on Medtner’s musical language and its stylistic features. The third and most comprehensive part provides detailed examinations of eight of Medtner’s piano sonatas, including aspects of their genesis and reception, and making use of recent methods of musical analysis.Die Dissertation widmet sich den frühen Klaviersonaten des russischen Komponisten Nikolaj Karlovič Metner (1880–1951), die im Kontext ihrer Gattungsgeschichte und im Vergleich mit Musik anderer Urheber betrachtet werden. Ein Hauptanliegen der multiperspektivischen Analysen ist es, den Werkkorpus in ästhetische Kontexte der Entstehungszeit einzubetten und die Einzelwerke als Spezialfälle des ›Sonatenprinzips‹, eines zeitlosen Formkonzepts, darzustellen. Die Studie gliedert sich in drei Sektionen, deren erste die Entwicklungen des Sonatenkomponierens vor Metner zusammenfasst und Traditionslinien in Westeuropa und Russland nachzeichnet. Der zweite Teil ist eine Darstellung der Tonsprache Metners und ihrer stilistischen Merkmale. Der dritte und umfangreichste Teil präsentiert Detailanalysen von acht Klaviersonaten Metners und untersucht die Notentexte mit Hilfe aktueller Analysemethoden.
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music". Thesis, 2003. http://hdl.handle.net/1959.13/24961.
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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.Masters Thesis
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music". 2003. http://hdl.handle.net/1959.13/24961.
Pełny tekst źródłaStreszczenie:
The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.Masters Thesis