Teus Araujo Piano Pieces

1993

The musical career of the Polish composer Alexandre Tansman (1897-1986) was multifaceted. He frequently performed as a pianist and conductor, and he composed numerous works for various performance media. Tansman was a well-respected musician, having received during his lifetime many awards and honors for his compositions. Among Tansman's music are numerous didactic works for solo piano. These pieces expose the student to a variety of musical genres and styles, while at the same time providing practical experience in the acquisition of musical and technical skills. This monograph examines the didactic solo piano works of Tansman, focusing primarily on the collections Pour les enfants (1934), Les jeunes au piano (1951), and Happy Time (1960). Following an introductory chapter that briefly outlines Tansman's life and career, Chapter 2 provides a discussion of the genres (dances, barcaroles, marches, etudes) and styles (contrapuntal, "blues," ethnic) used by Tansman in...

Latin American Music Review, 2005

Notes on the sonatas for flute, oboe and clarinet, the Trio for oboe, bassoon and piano, and the Sextet. N.B. The uploaded version is an uncorrected proof.

2013

Nicolau, Thais Lopes. The Piano Concertos of Edmundo Villani-Côrtes.

2002

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 -- 三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。 Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Pamela Pike, who both have been such knowledgeable teachers, supportive mentors and inspiring role models for my doctoral education during the past years. With your guidance, I have not only become a better musician and pedagogue, but more importantly, a better human being. Thank you so much for everything you have taught me and for the guidance you have offered throughout the writing process of my dissertation. Moreover, I would like to thank Dr. Willis Delony and Dr. Catherine Jacquet to be such supportive committee members. In addition, I would like to thank Dr. Chen Yi for generously sharing her thoughts and feedback when I researched for the appropriate interpretations for her profound and valuable compositions. I would also like to thank Prof. Claude Cymerman, who was my piano professor during my undergraduate years at DePauw University. Thank you for guiding me into the journey of loving and exploring music and piano. The years of further education after DePauw University would not happen if it wasn't for you. Lastly, I would like to extend my deepest love to my beloved parents, Yonghuang Tang and Xiaoqing He. I would not have come so far if it wasn't for your unrequited love. And I would definitely not have come so far if it wasn't for your unconditioned support for fulfilling my dream. The past ten-year of studying in United States has been a wonderful adventure. I am and will be grateful for what I have experienced in these ten years. No matter what I have gain or lost, it has been the most invaluable asset and adventure to me. v

The player piano reneges on one of the basic promises of musical performance: the fallible performer. As such, it represents one particularly vexing step on music's path from an exclusively human and a-mechanical endeavor, to a mechanically recorded, stored, and mediated experience. The player piano promises a new kind of absolute music to its listener, free from a performer's personal, affective influence or error, but the achievement of absolute music remains elusive even in its mechanical execution. In 1854 Eduard Hanslick discusses absolute music as music that speaks only through sound; the performer " coaxes the electric spark out of its obscure secret place and flashes it across to the listener " to animate the work (1986, 49). But the absolute offered by mechanical music — a performance unfettered by the live performer — uncovers a new and previously unimagined aesthetic space, a space free of physical and expressive human limitations. Mechanical music reshapes the definition of absolute music by allowing composers to explore music without the pianist-as-mediator influencing the musical product. In this paper I will show how the player piano revises standard definitions of absolute music — music about music, defined by Ashby (2010), Bonds (2014), Dahlhaus (1995), Goehr (1992), and others — by suggesting a performance without the present, laboring body and fallible emotive interpretation of a human pianist. Rather than seeking clarity, the proposed paper sheds light on one problem within the discourse on absolute music: its shifting status after the advent of mechanical reproduction. I support my discussion with brief analyses of original works for player piano, each representing a different stage of the player piano's rise, peak, and fall: 1) Igor Stravinsky's Étude pour Pianola (1917), 2) Alfredo Casella's Trois Pièces pour Pianola (1921) and Paul

2004

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 -- 三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。 Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

2003

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 -- 三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。 Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Rast Musicology Journal , 2021

The objective of the study is to identify the role of the small cycle "Prelude and Fugue" in the piano work of Chinese composers in the field of polyphonic genres, to consider the most striking examples of Preludes and fugues from the standpoint of the interpretation of the genre, the use of musical and expressive means, performing implementation. The research methodology is based on an integrated approach that combines theoretical methods with historical ones, reflecting the evolution of musical thinking. All the issues raised in the process of analyzing fugues are considered in combination with certain artistic tasks generated by the internal content of the work. The analysis of piano Preludes and fugues by composers Ding Shande, Chen Zhi Ming, Wang Lisan, Rao Yu Yang, Lin Hua made it possible to deduce a number of features of their construction and musical language in connection with the issues of form formation, thematic content, tonal lighting, rhythmic features, polyphonic ways of development and qualitative transformation of the material. In the Preludes and fugues of Chinese composers, essential and fundamental factors come into close interaction: deep connections coming from the polyphony of the "strict style" and the fugues of J. S. Bach, the organic implementation of the principles of national folk melos and the polyphonic warehouse of instrumental folklore, innovation rooted in the incessant search for new means of expression and enrichment of the musical language. The latter is determined by the content of the composers' music, its fullness with a variety of moods, experiences, reflections on the meaning of human life, about our complex century, saturated with the most serious events and phenomena. In the fusion of these qualities, a subjective moment plays a primary role: the uniqueness of the composer's creative individuality, which leaves a certain imprint on all the compositions-in close-up and in detail.