Chopin\u27s Musical Elements

Frederic Chopin composed many great piano works that musicians have enjoyed and studied since the Romantic Era. These pieces continue to be performed around the world. This research focuses on specific aspects of selections of Chopin’s literature, and how those aspects can be taught to those unfamiliar with his works. The goal is to teach others to appreciate his works. The research problem investigated in this study is to determine the melodic qualities of the pianistic texture in Chopin’s solo piano works that are identifiable by theoretical analysis and public performance. The methodology used in this study will be score study and qualitative research. The hypothesis is that there are certain melodic qualities in Chopin’s piano works that can be identified, including pedal tones, embellished phrases, theme and variations, inner melodies, harmonic/overtone pedaling and opposing rhythms. These qualities were found in several of Chopin’s works and have been discovered as identifiable by theoretical analysis. Pedal tones can be found in the Prelude in D-flat major, Op. 28, No. 15, Nocturne in C-sharp minor, Op. 27, No. 1, and Ballade No. 3 in A major, Op. 47. Embellished phrases can be found in the Prelude in D-flat major, Op. 28, No. 15 and Nocturne in E minor, Op. 72, No. 1. Theme and variations can be found in the Ballade No. 3 in A major, Op. 47, Ballade No. 4 in F minor, Op. 52 and Nocturne in E minor, Op. 72, No. 1. Inner melodies can be found in the Prelude in D-flat major, Op. 28, No. 15 and Nocturne in C-sharp minor, Op. 27, No. 1. Harmonic/Overtone pedaling can be found in the Prelude in D-flat major, Op. 28, No. 15 and Nocturne in C-sharp minor, Op. 27, No. 1. Lastly, opposing melodies can be found in the Ballade No. 4 in F minor, Op. 52 and Nocturne in E minor, Op. 72, No. 1. A lecture recital will be given focusing on these pieces to show the audience these melodic qualities both visually and aurally

Chopin in Great Britain, 1830 to 1930: reception, performance, recordings

This thesis focuses on three principal areas: the reception of Chopin's music in Great Britain, both during his lifetime and following his death; early sound recordings of Chopin's music, particularly those from the end of the nineteenth and the beginning of the twentieth centuries; and differing approaches to the performance of Chopin's music, including those by the composer himself, and interpretations by some of his contemporaries, students and 'grandstudents'. These three areas are presented in four chapters, which complement one another by exploring links between cultural, social and historical contexts of Chopin's music in Great Britain in the period from 1830 to 1930. The thesis addresses some of the varied features that contribute to an understanding of historically-informed performance practice, and ultimately demonstrates how these features - which allow for greater comprehension of nineteenth-century pianistic styles and techniques - have enriched the author's own interpretations. The written thesis is accompanied by the author's own performance of several of Chopin's works informed by late nineteenth-century expressive techniques

Chasing Expression: Tracing Notated and Performative Devices that Create a \u3ci\u3eBel Canto\u3c/i\u3e Style at the Piano

Discussions of interpretation and performance practice often address specific historical periods, offering analyses of musical practices within a predetermined set of dates, such as ornamentation in the Baroque period, articulation as applied in the Classical era, and phrasing “the long line” in the Romantic era. Such a sectionalized approach yields many valuable insights on how to perform the music of specific composers, but it fails to consider the development of notational practices and performative idioms across different historical eras. Studying the ways in which musicians of different eras applied the same set of musical devices within a specific style could shed new light on the historical transformations of performance practices and promote understanding of expressivity in musical performance. Topic theory can provide a vehicle for such cross-era analysis. This document examines existing scholarship prior to offering its own definition for bel canto style within the framework of topic theory. In addition to identifying specific notated and performative features of this style, this document considers cultural associations and characteristics bel canto music held for its contemporary audiences. Crucially, the definition offered here considers the composers and works that contributed to the apex of bel canto style in nineteenth-century opera, arguing that they belong to an evolving style understood by multiple generations of contemporary listeners. This historical consideration opens the door to studying the development of notation and performance practices within a singular topic. After defining bel canto style, this document focuses on keyboard music written in this style by composers from the Baroque, Classical, and Romantic eras. Consideration is given to how specific notated and performative elements combine to imitate vocal qualities of bel canto style at the keyboard. Consulting manuscripts, first-hand accounts, pedagogical resources, and current performance practice scholarship, this document traces stylistic continuities found in the notational and performative idioms of bel canto style piano music, arguing that they were understood in much the same way throughout this style’s historical development. Advisor: Mark Clinto

Frédéric Chopin as Pianist and Teacher

Résumé Tato diplomová práce je zaměřena na Fredericka Chopina jako pianistu a pedagoga. Jeho přístup ke klavírní pedagogice byl předvídavý co se týče fyziologie ruky a koordinace těla a nástroje. Jako hudebník a klavírista byl hluboce obdivován současníky. Osobním stylem hry uchvacoval své posluchače Seznámení s ním zásadně pomůže hráčům k porozumění a interpretaci Chopinových děl. Prvá kapitola je chronologicky zaměřena na Chopinův životopis a tvorbu. Druhá kapitola nazírá Chopina jako skladatele, jeho výběr žánrů, jeho inspirace a rané vlivy stejně tak jako vše, co výrazně charakterizuje jeho dílo. Třetí kapitola se týká Chopinova stylu hry (3.1), jeho názoru na ostatní hudebníky (3.2), a jeho vztahu k ostatním klavíristům (3.3). Kapitola 3.4 pojednává o hlavním problému Chopinova života, kterým byla nechuť hrát před publikem. Kapitola 3.5. uvádí podrobně Chopinovy koncerty a repertoár a následující kapitola 3.6. se zaměřuje na Chopinovy dovednosti improvizátora. Čtvrtá kapitola zkoumá Chopina jako učitele a zabývá se tím, jak významná byla role učitele v jeho životě. Dvě samostatné kapitoly se zaměřují na Chopinovy studenty (4.2) a repertoár (4.3), který studovali se svým učitelem Svědectví Chopinových studentů nám dává obraz toho, jaký byl Chopin učitel a jaké byly jeho rady, týkající se techniky a...This diploma dissertation is concentrated on Frederick Chopin as a piano player and pedagogue. His approach to piano pedagogy was visionary as concerns the physiology of the hand and the body's coordination with the instrument. As a musician and pianist he was deeply admired by his contemporaries. His individual style of playing captivated his listeners. This knowledge will ultimately help performers to understand and interpret Chopin's works. The first chapters are focused on Chopin's biography and compositions in chronology. In chapter two we see Chopin as a composer, his choice of genres, his inspirations and early influences as well as what characterizes his works. Chapter three is concerned with Chopin's style of playing (3.1), his opinion about other musicians (3.2) and his relationship with other pianists (3.3). Chapter 3.4 deals with the major issue in Chopin's life which was his reluctance to perform in public. Chapter 3.5 presents in detail Chopin's concerts and repertoire and the following Chapter 3.6 focuses on Chopin's skills as improviser. Chapter four examines Chopin as a teacher and the important role teaching played in his life. Two separate chapters concentrate on Chopin's students (4.2) and the repertoire studied with their teacher (4.3). The testimonies of Chopin's students...Katedra hudební výchovyFaculty of EducationPedagogická fakult

Frederick Chopin\u27s Life and Works and It\u27s Influence on Applied Piano Teaching

While many aspects of Frederic Chopin piano technique have been investigated, pedagogical studies regarding his unfinished piano method are certainly lacking. This research focuses on providing first-hand information that will expand the pedagogical philosophy and widen the historical perspective of applied piano students in general. This research project will explore some of practice and historical strategies presented by the nineteenth and twentieth-century pianists in applied lessons to determine how students practice in successive lessons. Frederick Chopin’s innovations on piano technique are extraordinary and influenced succeeding generations of pianists and piano composers. Furthermore, the life and the works of Frederick Chopin have made an undeniable contribution to Polish cultural traditions around the world. This study is based on a hypothesis that argues that some historical aspects of Frederick Chopin’s life and piano method are extremely important for the applied music piano teacher in the twenty-first century. In this study, the writer presents an investigation on Chopin’s historical life events and selected compositions that made Chopin responsible for the development of an innovative applied piano teaching technique. In addition, a qualitative analysis of Chopin’s existing and selected works will be employed for this study. Lastly, by drawing a connection between Chopin’s works and his unfinished piano method, this research study will provide teachers and students with a valuable reference tool when learning how to play his works in a manner that display sensitivity and understanding of the classical piano technique

Forging a performance practice for Debussy’s Douze Études: a historical and analytical approach

This document integrates discussions of historical and analytical findings to support a performance practice surrounding Debussy’s Douze Études (1915). Historical observations are used to build comparative relationships between the compositional techniques and piano techniques used in the Études and those established by The French Clavecinistes; Debussy’s teachers, mentors and peers at The Paris Conservatory; Frédéric Chopin; and Robert Schumann. These relationships are used to highlight stylistic nuances that are paramount to the interpretation of Debussy’s music. While the Études provide the lens through which Debussy’s piano style is examined, this document is organized by topic, drawing upon individual études to illustrate various elements of style. These include: French Baroque unmeasured préludes, keyboard technique of the French Baroque, keyboard technique of the Paris Conservatory, keyboard technique of Chopin, Chopin’s rubato, Chopin’s rhythmic vernacular, Schumann’s explorations in sonority, Schumann’s use of repetition, Schumann’s use of quotation, and finally, Schumann’s use of contrasting characters

A Pedagogical Approach to Technique in Chopin\u27s Preludes Op. 28

The current project is a reference guide for using Chopin\u27s Preludes in the applied studio to teach technique, and consists of three main components: determining the technical challenges of each prelude; categorizing each prelude by level of technical difficulty; compiling practice suggestions for successful navigation of each technique. The following technical challenges are represented throughout the set: voicing, passagework, cross-rhythms and tuplet rhythms, stretches, leaps, fingering, double notes, octaves, repeated notes, pedaling, hand coordination, hand independence. Each of these challenges is manifested in a multiple ways. While a variety of techniques are required to perform any given work, in the Preludes often one or two technical skills are most prominently on display, making for a suitable technical study. This project indicates the main technical challenges presented by each prelude, as well as those which are more subtly employed. With the classification provided in this document it is possible to choose a prelude to focus on and reinforce a particular skill.;The grading scale, based on level of technical difficulty, consists of four categories: easy, intermediate, advanced, and very advanced. This system used is based on, though not identical to, that found in Eleanor Bailie\u27s Chopin, A Graded Practical Guide (London: Kahn & Averill, 1998). The grading scale is not intended to compare the Preludes with other repertoire; it categorizes the preludes in relation to others in the set only. Many of the techniques listed above are represented, to greater and lesser degrees of prominence, in three of the four grading categories, making it possible to find an appropriate prelude for both a specific technique and difficulty level.;The compilation of practice suggestions includes those that have been presented by other scholars, as well as tips gleaned from performance experience of the set by the author. In addition, Chopin\u27s approach to the piano and technique is explored and compared to our modern conception of technique. Incorporating writings by Chopin, interviews of his students, and other contemporary accounts with current ideas on technique creates a unique amalgamation of suggestions and considerations for students and teachers alike