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Characteristic articulation in Beethoven's piano music : = A performer's approach.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Characteristic articulation in Beethoven's piano music :/
其他題名:	A performer's approach.
作者:	Redshaw, Michael John.
面頁冊數:	1 online resource (121 pages)
附註:	Source: Dissertations Abstracts International, Volume: 55-03, Section: A.
Contained By:	Dissertations Abstracts International55-03A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780315648173

Characteristic articulation in Beethoven's piano music : = A performer's approach.
Redshaw, Michael John.

Characteristic articulation in Beethoven's piano music :A performer's approach. - 1 online resource (121 pages)

Source: Dissertations Abstracts International, Volume: 55-03, Section: A.

Thesis (D.Mus.)--University of Alberta (Canada), 1990.

Includes bibliographical references

Even within the context of today's general understanding of appropriate late-eighteenth- and early-nineteenth-century keyboard performance practice, articulation has differing connotations and the Introduction is therefore necessary to delimit the term as used within this essay. Chapter One is an overview of general principles of articulation from mid-eighteenth to early-nineteenth centuries and is intended as a point of reference from which the present study of articulation in Beethoven's music can begin. Chapter Two examines musical syntax in the late-eighteenth and early-nineteenth centuries and focuses in particular on the music of Beethoven. Rhythmic groupings, accentuation, and the use of the short and long slur are examined. Chapter Three investigates the attack and cessation of sounds created through various patterns of slurs and phrase markings, and the range of detached sounds in identical passages of string and keyboard writing. It is anticipated that such passages in string and keyboard music can be in agreement or different and an interpretation of this phenomena will be sought. Along with this there is an attempt to draw some general conclusions of articulation and to relate them to the keyboard repertoire. Chapter Four is an attempt to bring together all the various ideas on articulation. It presents comments on Beethoven's own performance style and how it differed from that of his predecessors. Special attention is given to the rhetorical aspect of his playing. Chapter Five is a brief survey of Beethoven's fingerings as related to articulation. Chapter Six discusses the historic instrument revival. It is considered in terms of performances of Beethoven's music on pianos of today and how performances on modern instruments can be transcribed without losing in spirit or "good taste".

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9780315648173Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Characteristic articulation in Beethoven's piano music : = A performer's approach.
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504 $a Includes bibliographical references
520 $a Even within the context of today's general understanding of appropriate late-eighteenth- and early-nineteenth-century keyboard performance practice, articulation has differing connotations and the Introduction is therefore necessary to delimit the term as used within this essay. Chapter One is an overview of general principles of articulation from mid-eighteenth to early-nineteenth centuries and is intended as a point of reference from which the present study of articulation in Beethoven's music can begin. Chapter Two examines musical syntax in the late-eighteenth and early-nineteenth centuries and focuses in particular on the music of Beethoven. Rhythmic groupings, accentuation, and the use of the short and long slur are examined. Chapter Three investigates the attack and cessation of sounds created through various patterns of slurs and phrase markings, and the range of detached sounds in identical passages of string and keyboard writing. It is anticipated that such passages in string and keyboard music can be in agreement or different and an interpretation of this phenomena will be sought. Along with this there is an attempt to draw some general conclusions of articulation and to relate them to the keyboard repertoire. Chapter Four is an attempt to bring together all the various ideas on articulation. It presents comments on Beethoven's own performance style and how it differed from that of his predecessors. Special attention is given to the rhetorical aspect of his playing. Chapter Five is a brief survey of Beethoven's fingerings as related to articulation. Chapter Six discusses the historic instrument revival. It is considered in terms of performances of Beethoven's music on pianos of today and how performances on modern instruments can be transcribed without losing in spirit or "good taste".
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