|
Showing 1 - 5 of
5 matches in All Departments
The principal purpose of topics in musicology has been to identify
meaning-bearing units within a musical composition that would have
been understood by contemporary audiences and therefore also by
later receivers, albeit in a different context and with a need for
historically aware listening. Since Leonard Ratner (1980)
introduced the idea of topics, his relatively simple ideas have
been expanded and developed by a number of distinguished authors.
Topic theory has now become a well-established branch of
musicology, often embracing semiotics, but its relationship to
performance has received less attention. Musical Topics and Musical
Performance thus focuses on the interface of theory and practice,
and investigates how an appreciation of topical presence in a work
may prompt interpretative thoughts for a potential performer as
well as how performers have responded to such a presence in
practice. The chapters focus on music from the nineteenth,
twentieth and twenty-first centuries with case studies drawn from
composers as diverse as Beethoven, Scriabin and Peter Eoetvoes.
Using both scores and recordings, the book presents a variety of
original and innovative perspectives on the subject from a range of
distinguished authors, and addresses a neglected area of musicology
and musical performance.
In this book, Julian Hellaby presents a detailed study of English
piano playing and career management as it was in the middle years
of the twentieth century. Making regular comparisons with early
twenty-first-century practice, the author examines career-launching
mechanisms, such as auditions and competitions, and investigates
available means of career sustenance, including artist management,
publicity outlets, recital and concerto work, broadcasts,
recordings and media reviews. Additionally, Hellaby considers
whether a mid-twentieth-century school of English piano playing may
be identified and, if so, whether it has lasted into the early
decades of the twenty-first century. The author concludes with an
appraisal of the state of English pianism in recent years and
raises questions about its future. Drawing on extensive research
from a wide variety of primary and secondary sources, this book is
structured around case-studies of six pianists who were commencing
and then developing their careers between approximately 1935 and
1970. The professional lives and playing styles of Malcolm Binns,
Peter Katin, Moura Lympany, Denis Matthews, Valerie Tryon and David
Wilde are examined, and telling comparisons are made between the
state of affairs then and that of more recent times. Engagingly
written, the book is likely to appeal to professional and amateur
pianists, piano teachers, undergraduate and postgraduate music
students, academics and anyone with an interest in the history of
pianists, piano performance and music performance history in
general.
In this book, Julian Hellaby presents a detailed study of English
piano playing and career management as it was in the middle years
of the twentieth century. Making regular comparisons with early
twenty-first-century practice, the author examines career-launching
mechanisms, such as auditions and competitions, and investigates
available means of career sustenance, including artist management,
publicity outlets, recital and concerto work, broadcasts,
recordings and media reviews. Additionally, Hellaby considers
whether a mid-twentieth-century school of English piano playing may
be identified and, if so, whether it has lasted into the early
decades of the twenty-first century. The author concludes with an
appraisal of the state of English pianism in recent years and
raises questions about its future. Drawing on extensive research
from a wide variety of primary and secondary sources, this book is
structured around case-studies of six pianists who were commencing
and then developing their careers between approximately 1935 and
1970. The professional lives and playing styles of Malcolm Binns,
Peter Katin, Moura Lympany, Denis Matthews, Valerie Tryon and David
Wilde are examined, and telling comparisons are made between the
state of affairs then and that of more recent times. Engagingly
written, the book is likely to appeal to professional and amateur
pianists, piano teachers, undergraduate and postgraduate music
students, academics and anyone with an interest in the history of
pianists, piano performance and music performance history in
general.
Teaching Notes offers invaluable guidance for teachers on the 81
pieces included in the graded books of Piano Exam Pieces 2021 &
2022, Grades Initial-8. For each piece, you will find teaching
ideas relating to three areas of learning - musical context,
technical challenges, and performance and interpretation - in a
clear and easy-to-use layout. Written by experienced piano teachers
and ABRSM examiners, Teaching Notes also includes advice from
ABRSM's Chief Examiner on selecting and interpreting pieces.
Alongside practical solutions to technical challenges, it's full of
creative ideas to support and inspire your teaching.
Performance studies in the Western art music tradition have often
been dominated by the relationship of theoretical score-analysis to
performance, although some recent trends have aimed at dislodging
the primacy of the score in favour of assessing performance on its
own terms. In this book Julian Hellaby further develops these
trends by placing performance firmly at the heart of his
investigations and presents a structured approach to analysing the
interpretation of a musical work from the perspective of a
musically informed listener. To enable analysis of individual
interpretations, the author develops a conceptual framework in
which a series of performance-related categories is arranged
hierarchically into an 'interpretative tower'. Using this framework
to analyse the acoustic evidence of a recording, interpretative
elements are identified and used to assess the relationship between
a performance and a work. The viability of the interpretative tower
is tested in three major case studies. Contrasting recorded
performances of solo keyboard works by Bach, Messiaen and Brahms
are the focus of these studies, and analysis of the performances,
using the tower model, uncovers an interpretative rationale. The
book is wide-ranging in scope and holistic in approach, offering a
means of enhancing a listener's appreciation of an interpretation.
It is richly illustrated with examples taken from commercial
recordings and from the author's own recordings of the three focal
works. Downloadable resources of the latter are included.
|
|