INFLUENCES AND TRANSFORMATIONS: 19THCENTURY SOLO AND COLLABORATIVE PIANO REPERTOIRE
| dc.contributor.author | Sugiyama, Miori | |
| dc.contributor.department | Music | |
| dc.contributor.publisher | University of Maryland (College Park, Md.) | |
| dc.contributor.publisher | Digital Repository at the University of Maryland | |
| dc.date.accessioned | 2013-01-17T19:43:05Z | |
| dc.date.available | 2013-01-17T19:43:05Z | |
| dc.date.issued | 2012 | |
| dc.description.abstract | This dissertation is an exploration of the inter-relationships of genres in the collaborative piano repertoire, particularly in music of the 19th century, an especially important period for collaborative piano repertoire. During this time, much of the repertoire gave equal importance to the piano in duo and ensemble repertoire. Starting with Schubert, and becoming more apparent with the development of the German lied, the piano became a more integral part of any composition, the piano part being no longer simplistic but rather a collaborative partner with its own voice. Mendelssohn transformed the genre of lieder by writing them, without their words, for solo piano. In addition to creating some of the greatest and most representative lieder in the Romantic period, composers such as Schumann, Brahms, and Strauss continued the evolution of the sonata by writing works that were more technically demanding on the performer, musically innovative, and structurally still evolving. In the case of Chopin who wrote mostly piano works, a major influence came from the world of opera, particularly the Bel Canto style. In exploring two specific genres, vocal and instrumental piano works by these composers; it is fascinating to see how one genre translates to another genre. This was especially true in the vocal and instrumental works by Schubert, Schumann, Brahms, Chopin, and Strauss. All of these composers, with the exception of Chopin, contributed equally to both the song and sonata genres. In the case of Chopin, the influences and inspirations, which came from the eraʼs opera style strongly affected his piano works. All these composers were successful in writing for various mediums while maintaining the uniqueness of their voice, one that adapted to each medium but never lost its ownerʼs unique stylistic characteristics. The repertoire for this dissertation project, selected instrumental and vocal works by Schubert, Schumann, Brahms, Mendelssohn, Chopin, and Strauss, were presented over the course of three recitals on February 20, 2011, December 8, 2011, and February 19, 2012 at the University of Marylandʼs Gildenhorn Recital Hall. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM). | en_US |
| dc.identifier.uri | http://hdl.handle.net/1903/13399 | |
| dc.language.iso | en_US | en_US |
| dc.rights | NOTICE: Recordings accompanying this record are available only to University of Maryland College Park faculty, staff, and students and cannot be reproduced, copied, distributed or performed publicly by any means without prior permission of the copyright holder. | |
| dc.title | INFLUENCES AND TRANSFORMATIONS: 19THCENTURY SOLO AND COLLABORATIVE PIANO REPERTOIRE | en_US |
| dc.type | Dissertation | en_US |