Music Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2796
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Item “CHARACTERS” IN DIVERSE WORKS FOR PIANO, 1720-1944(2024) Chan, Ham; Dedova, Larissa; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The main aim of this research project is to gain a thorough comprehension of piano music classified as “Character Pieces,” as well as music that exhibits similar musical traits but is not officially categorized as such. In a narrative context, a character is typically defined as a person depicted within a story, either through description or direct speech. In the realm of music, characters are often linked to the mood or atmosphere. Expanding on this, characters in music should assist performers and listeners in creating a musical scene through their individual imaginations. The fundamental essence of “Character Pieces” can be distilled to compositions imbued with distinctive musical qualities. While there exists no unanimous consensus regarding the precise criteria for characterizing a piece as such, there is a general consensus that compositions bearing evocative titles such as Ballade, Fantasy, Nocturne, and Mazurka are commonly regarded as character pieces. In a more scholarly context, the Harvard Dictionary of Music aptly defines the term “Character Piece” as a convenient designation encompassing a substantial body of short compositions from the 19th century, designed to express a definite mood or programmatic idea. Most of these compositions are written in ternary form, a structure that proves especially suitable for depicting two contrasting moods, such as the dramatic section A and the lyrical section B.A notable feature of the genre is its freedom from a fixed naming convention, enabling compositions to encompass a wide array of titles. This stands in stark contrast to other genres such as Sonatas and Variations, which are inherently defined by predetermined names and structural elements. However, influences on “Character Pieces” in terms of structure and musicality can be found in some of these genres. Several of these works will also be highlighted in the program. “Character pieces” can be viewed as a genre conceptualized by scholars to encompass the majority of piano music from the 19th century that may not adhere to conventional notions of “serious” music. Given the flexibility of this classification, the three planned recitals have been carefully curated to showcase music relate to this genre, spanning from works of Bach to Prokofiev composed between 1720 and 1944. Each recital will revolve around a central theme, with the initial installment titled “Fantasies and Ballades,” followed by “Humanity” in the second recital, and concluding with “Literary Inspirations” in the final recital.Item FRÉDÉRIC CHOPIN AND HIS PIANO COMPOSITIONS(2023) Liu, Wanching; Dedova, Larissa; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Frédéric Chopin (1810-1849) is regarded as one of the most influential figures in the history of music. Although he wrote almost exclusively for the piano, his unique musical language, revolutionary inventions, romantic nostalgia, and the Polish elements in his composition propelled him to the forefront of critical acclaim. Furthermore, he decisively influenced other contemporaries and successors. Schumann once mentioned that people can easily tell Chopin’s compositions without looking at the composer’s name. Chopin’s innovations and aesthetics in piano compositions are irreplaceable and transcend the barriers of time and nationality. In this dissertation, as well as the recordings of three dissertation recitals, I would like to present the developments in Chopin’s music that transformed him from a young virtuoso into one of the greatest composers in the Western music history. The repertoires include one of his piano concertos which was completed during his Warsaw period, the miniatures published after he settled down in Paris, and the large-scale works composed at the very end of his life. I believe that the arrangement of the programs will give me a glimpse of the quintessence of Chopin’s writing.Item The Pedagogical Legacy of Johann Nepomuk Hummel(2006-08-07) Hulbert, Jarl; Davis, Shelley; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist-superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel's eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel's biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel's reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel's most celebrated compositions. The Postlude assesses Hummel's role as a teacher by also addressing his "hidden" presence. For example, core elements of his method inform the pedagogy of Isabelle Vengarova, a teacher of Samuel Barber and Leonard Bernstein. Her piano instruction is indebted to Hummel, revealing the far-reaching influence of his pedagogical legacy. The appendices address important aspects, for example, Hummel's indirect impact in the US through Charles Zeuner. Hummel's pedagogical legacy is divulged here in its significance of impact. Renewed interest is needed in a musician of eminence who suffered much bias and neglect and deserves a full reevaluation.