Matching Items (22)
Filtering by
- All Subjects: Piano music
- All Subjects: Composition (Music)
- All Subjects: Electronic Music
- Creators: Meir, Baruch
Description
Yannis Constantinidis was the last of the handful of composers referred to collectively as the Greek National School. The members of this group strove to create a distinctive national style for Greece, founded upon a synthesis of Western compositional idioms with melodic, rhyhmic, and modal features of their local folk traditions. Constantinidis particularly looked to the folk melodies of his native Asia Minor and the nearby Dodecanese Islands. His musical output includes operettas, musical comedies, orchestral works, chamber and vocal music, and much piano music, all of which draws upon folk repertories for thematic material. The present essay examines how he incorporates this thematic material in his piano compositions, written between 1943 and 1971, with a special focus on the 22 Songs and Dances from the Dodecanese. In general, Constantinidis's pianistic style is expressed through miniature pieces in which the folk tunes are presented mostly intact, but embedded in accompaniment based in early twentieth-century modal harmony. Following the dictates of the founding members of the Greek National School, Manolis Kalomiris and Georgios Lambelet, the modal basis of his harmonic vocabulary is firmly rooted in the characteristics of the most common modes of Greek folk music. A close study of his 22 Songs and Dances from the Dodecanese not only offers a valuable insight into his harmonic imagination, but also demonstrates how he subtly adapts his source melodies. This work also reveals his care in creating a musical expression of the words of the original folk songs, even in purely instrumental compositon.
ContributorsSavvidou, Dina (Author) / Hamilton, Robert (Thesis advisor) / Little, Bliss (Committee member) / Meir, Baruch (Committee member) / Thompson, Janice M (Committee member) / Arizona State University (Publisher)
Created2011
ContributorsYang, Miao (Performer) / Kim, Chung Man (Performer) / Kong, Qi (Performer) / Chun, Yung Hoon (Performer) / Tetzloff, Reed (Performer) / Levkovich, Dmitri (Performer) / Falzone, Christopher (Performer) / Chu, Yue (Performer) / Yessimkhanov, Daniyar (Performer) / Khristenko, Stanislav (Performer) / Marshall, Kimberly (Speaker) / Meir, Baruch (Speaker) / ASU Library. Music Library (Publisher)
Created2009-01-10
ContributorsMeir, Baruch (Performer) / Barefield, Robert (Performer) / Buck, Nancy (Performer) / Jiang, Danwen (Performer) / Swartz, Jonathan (Performer) / Tescarollo, Hamilton (Performer) / ASU Library. Music Library (Publisher)
Created2004-02-15
ContributorsDobos, John Octavian (Performer) / Jing, Helen (Performer) / Markina, Anastasia (Performer) / Ulianitsky, Ilia (Performer) / Meir, Baruch (Performer) / ASU Library. Music Library (Publisher)
Created2007-01-28
ContributorsMeir, Baruch (Performer) / Williamson, Madeline J. (Performer) / Wytko, Joseph (Performer) / LINKS (Performer) / ASU Library. Music Library (Publisher)
Created2003-02-28
ContributorsMeir, Baruch (Performer) / ASU Library. Music Library (Publisher)
Created2010-02-22
ContributorsFennig, Andria (Performer) / Hanaoka, Katsunori (Performer) / Lee, Suzie (Performer) / Meir, Baruch (Performer) / Novak, Christina (Performer) / Tescarollo, Hamilton (Performer) / Williamson, Madeline J. (Performer) / ASU Library. Music Library (Publisher)
Created1997-04-29
ContributorsWilliamson, Madeline J. (Performer) / May, Judy (Performer) / Mclin, Katie (Performer) / Meir, Baruch (Performer) / Schuring, Martin (Performer) / Spring, Robert (Performer) / ASU Library. Music Library (Publisher)
Created1999-12-02
Description
This research paper provides a revised version of viola alta compositions by
Hermann Ritter. These original compositions, written for viola alta, were published between 1878 and 1900. Without further reprint, these works are largely unknown by this generation of violists. Yet, these works are precious examples of viola alta repertoire from the late nineteenth century.
The viola alta was designed by Hermann Ritter with an instrumental length between 17 and 19 inches. Another version of this instrument was constructed with five strings, adding a high E-string. Higher pitches could then be played with relative ease in lower positions. Compositions for the viola alta often feature brilliant passages in the treble register and rarely showcase the sonority of the lower strings. Many of Ritter’s scores for the instrument are notated in the alto clef and contain numerous ledger lines. Due to the difficulty of reading the music and handling such a large instrument, the viola alta had a relatively short existence and its repertoire was soon forgotten.
Hermann Ritter actively promoted the viola alta during the late nineteenth century. His compositions featured the range of the instrument and captured the emotion and character of the late Romantic era. Ritter contributed a wealth of repertoire for the viola alta to increase its significance and importance. For today’s violist, it represents a body of work from the nineteenth century, and adds to the repertoire many wonderful, short, character pieces.
This document consists of a brief discussion of Hermann Ritter’s career and his contributions to the viola alta. Six of Ritter’s viola alta works are presented in order of difficulty with bowings and fingerings, along with a performer’s analysis and performance instructions. To aid ensemble issues, the revised version includes simplified piano parts. It is the author’s hope that this volume increases repertoire options for violists and becomes a valuable pedagogical resource.
Hermann Ritter. These original compositions, written for viola alta, were published between 1878 and 1900. Without further reprint, these works are largely unknown by this generation of violists. Yet, these works are precious examples of viola alta repertoire from the late nineteenth century.
The viola alta was designed by Hermann Ritter with an instrumental length between 17 and 19 inches. Another version of this instrument was constructed with five strings, adding a high E-string. Higher pitches could then be played with relative ease in lower positions. Compositions for the viola alta often feature brilliant passages in the treble register and rarely showcase the sonority of the lower strings. Many of Ritter’s scores for the instrument are notated in the alto clef and contain numerous ledger lines. Due to the difficulty of reading the music and handling such a large instrument, the viola alta had a relatively short existence and its repertoire was soon forgotten.
Hermann Ritter actively promoted the viola alta during the late nineteenth century. His compositions featured the range of the instrument and captured the emotion and character of the late Romantic era. Ritter contributed a wealth of repertoire for the viola alta to increase its significance and importance. For today’s violist, it represents a body of work from the nineteenth century, and adds to the repertoire many wonderful, short, character pieces.
This document consists of a brief discussion of Hermann Ritter’s career and his contributions to the viola alta. Six of Ritter’s viola alta works are presented in order of difficulty with bowings and fingerings, along with a performer’s analysis and performance instructions. To aid ensemble issues, the revised version includes simplified piano parts. It is the author’s hope that this volume increases repertoire options for violists and becomes a valuable pedagogical resource.
ContributorsChen, Yen-Fang (Author) / Buck, Nancy (Thesis advisor) / Rockmaker, Jody (Committee member) / Swartz, Jonathan (Committee member) / Arizona State University (Publisher)
Created2018
Description
As one of the composers living in an era filled with innovations, Anatol Konstantinovich Lyadov (1855-1914) has been relatively ignored by scholars and pianists to date. He is an unusual composer with multiple characteristics: solitary but expressive, talented but indolent. His compositional style never lacked critics—especially with respect to his persistent preference of miniatures. Nonetheless, his piano works embody the breathtaking beauty of the composer’s independent musical ideas and colorful musical language. Compared with the flourishing, dazzling, and nationalized music from other composers living in the same era, these light, flowing musical pieces from Lyadov have irreplaceable value.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
Through the study of these small-scale piano works, one finds important connections with the music of other renowned composers (e.g. Chopin and Scriabin), and the employment of traditional aspects such as Russian folk tones and fairy tales. Stylistically, Lyadov was a representative of 19th-century Romanticism; however, his compositional style changed during his late period (after 1900), presenting a unique use of dissonance.
The scholarly research on Lyadov’s piano works remains limited. Most of the related resources can be found only in the Russian music literature. No in-depth study or dissertation on the complete piano works of Lyadov could be located, and therefore my research paper is intended to provide useful information to piano performers and teachers, hopefully encouraging more study and performance of Lyadov’s piano works. Despite their lyrical melodies and deep emotion, these works are thus far relatively unpopular and unknown, with only a few played occasionally as encore pieces.
ContributorsZhang, Xiaoyu (Author) / Hamilton, Robert (Thesis advisor) / Creviston, Hannah (Committee member) / DeMars, James (Committee member) / Meir, Baruch (Committee member) / Arizona State University (Publisher)
Created2018