Schönberg was not the only one to emphasise musicianship as an indispensable quality of good collaboration. Pianists like Gerald Moore, Kurt Adler and Martin Katz have written extensively about the art of accompanying and outlined necessary musical skills and personal attributes for successful collaboration. Adler states that unlike singers, who might become outstanding opera performers due to the beauty of their voice and good coaching from accompanists and conductors, “[o]nly a good musician can become a good accompanist.” Adler names patience and love of detail as necessary qualities for successful Lied singers. “Add to this a rich and deep inner life, […] and the ability to mold diction and voice into a thousand shapes. Still more important is a singer’s idealism.” I find these qualities equally necessary for successful Lied pianists. I believe that, in Lied accompaniment like in every other art form, a need for expression and a sincere affection for what one does are necessary for becoming an outstanding performer.
Collaborative pianists agree that useful skills for the pianist include good sight-reading and transposition. However, the ability to sight-read is usually only needed in contexts like auditions, where the pianist aims to make the performance work rather
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According to Adler, the collaborative pianist “must make sure that his tone lives, sings, mourns and jubilates, caresses and beguiles.” Besides referring to the pianist playing the words and having an equal voice in the Lied duo, the concept of my project, “The Voice of the Piano” also encompasses this search for a variety of tone, to make the piano sing and
“Standard English was imposed on children of immigrant parents, then the children were separated from native English speakers, then the children were labeled “inferior” and “ignorant” (Hughes 70) because they could not speak Standard English. In addition to feeling inferior about their second language skills, these students also felt inadequate in regard to speaking their own mother tongues” (qtd in Kanae)
Messiaen had no choice on what instruments the piece was written for, ‘the group of instruments…to large to allow the piano to express itself freely, yet too small to obtain…variety of timbre,’ and his way around this was to obtain ‘maximum variety of which they are capable.’ By exploiting each instrument in so many different ways to create different timbres, the technical challenges faced by the performers are endless.
Ostwald, Peter. Robert Schumann - The inner voice of a musical genius. Boston: Northeastern University Press, 1985. 139. Book.
To begin with, the concept of the album is to reflect three specific and positive types of human emotions (hope, happiness and pleasure) through different genres of music, combined with orchestral and live sounds. Arguably, the reason for choosing a such idea was to prove that live instruments can be not necessarily used just within the boundaries of their acoustic environments. Alternatively, they can be appealingly applied in electronic music as well. This should encourage people to mix both orchestral and electronic music more often in order to gain an original outcome. In addition, it is important to mention that the concept album is targeted for people who are open-minded and prefer multiple genres of music.
As duke’s piano lessons faded into the past, Duke began to show an interest for the artistic. Duke went to Armstrong Manual Tra...
Joseph Haydn and Ludwig van Beethoven. Two composers who marked the beginning and the end of the Classical Period respectively. By analysing the last piano sonata of Haydn (Piano Sonata No. 62 in E-flat major (Hob. XVI:52)) and the first and last piano sonatas of Beethoven (Piano Sonata No. 1 in F minor Op. 2, No.1, Piano Sonata No. 32 in C minor Op. 111), this essay will study the development of Beethoven’s composition style and how this conformed or didn’t conform to the Classical style. The concepts of pitch and expressive techniques will be focused on, with a broader breakdown on how these two concepts affect many of the other concepts of music. To make things simpler, this essay will analyse only the first movements of each of the sonatas mentioned.
“Leopold Mozart, a court musician, began teaching Maria Anna, his first-born child, to play harpsichord when she was 8 years old. She progressed quickly, with 3-year-old Wolfgang often at her side.” Maria Anna was getting very good very quickly, with the help from her brother Wolferl. Both siblings helped eachother out , “Nannerl probably interpreted for Wolfgang and reinforced for Wolfgang what Leopold was trying to teach. She showed him that music is not only fun, but a way to communicate without words.” He learned from his sister the true meaning behind music, which made him grow as a performer. Support from family or friends is what separates a person from achieving their goals, or stumbling under the pressure, but both Maria Anna and Wolferl persevered with the help of each other and there dad and both achieved great
America Singer is a confident, humorous, and ambivalent young lady in the world renowned book, The Selection by Kiera Cass. Throughout this work her feelings are put to the test by the Selection- a contest held for the Prince Maxon to pick his beloved bride. As America is chosen for the Selection, she starts to question if her confidence, humor, and ambivalently persona is going to survive.
“product of a musical tradition that has been evolved through the process of oral transmission. The factors that shape the transition are: (I) continuity which links the present with the past; (ii) variation which springs from the creative impulse of the individual or the group; and (iii) selection by the community...
It is clear that Beethoven’s stands as being significant in development of the string quartet to a massive extent in creativity and innovation. His early quartets show great influence of those from the Classical period and with his own, has influenced his contemporaries and later composers. The quartets published later in his life show even greater imagination and use of expression. It is also through similar uses of texture, harmony, rhythm and counterpoint that composers of the Romantic period and the 20th century wrote their own string quartets. Beethoven’s however prove a huge advancement in how string quartets are written and the intensity of emotions that they portray.
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
Intrinsically, instead of music reflecting the emotions, composers aspired to cause emotions in the listener. Many dominating baroque musicians endorsed this approach and applied it to their compositions.... ... middle of paper ... ...
The Singer by Calvin Miller is retelling of the story of Jesus. The Singer travels the land and tells how he is the son of Earthmaker. The singer is Jesus and Earthmaker is God. He sings the Ancient Star Song that states that the Singer is the son of the Earthmaker. He gains many followers and critics, but he sings the same song. The World Hater is the Devil. He tempts the Singer in the dessert and the Singer sees the World Hater in many people. The Singer dies on the death machine because people do not believe in him. Just like Jesus the Singer is resurrected proving he is the son of the Earthmaker. The Singer is a well done modern depiction of Jesus because it pulls descriptions of Jesus from all four Gospels.
This book discusses the life of Glenn Gould who was a profound pianist known for his classical music, Peter Ostwald a late violinist who wrote “The Ecstasy and Tragedy of Genius of Glenn Gould” believed that Gould was extraordinary gifted and that his music gained much appreciation among the people in the community. He not only saw Gould as a genius but also as a companion who struggled to find peace in his life through the sound of music. Gould didn’t act like a normal child he isolated himself from others because he felt that others around him did not share the same passion for music. His father noticed when he was born that instead of crying, “Glenn always hum” (Ostwald, 1997). This showed that Glenn was born with a passion towards music from the very early stages of life. Gould formed behaviors of an ambivalent attachment style towards his mother and behaviors of a secure attachment towards his father this impacted his ability to form long lasting relationships with people during his childhood progressing into his adult years. (My thesis)
In order to read music, one must know how to count the proper way and figure out what letter the note is so he or she will know where to play it. This is all to be done while staying on rhythm and moving his or her hands in the proper way. It requires a certain coordination and concentration that can only be gained from practice; most people cannot just look at a piece of sheet music and start playing it, one has to first gain the knowledge required to know how to play the piece