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- All Subjects: Piano music
- All Subjects: performing arts
- Creators: Pagano, Caio, 1940-
- 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
Description
Piano education in China is a complex phenomenon shaped over the past century by many factors: China’s rich history of musical traditions, the influence of missionary piano teachers, the establishment of government-formed music conservatories, rapid changes in a political top-down approach, and the contributions of Russian piano teachers. Globalization and China’s rising economic status in the last four and a half decades have led to more Chinese pianists studying abroad and bringing their education back home. Once a foreign import, the piano is now played by more children in China than anywhere else in the world, and young Chinese pianists are frequently recognized on the world’s most competitive stages. As musicians compete on a global scale and international exchanges grow, understanding piano education in China becomes increasingly important.Three renowned teachers shape today’s piano education in China: Dr. Zhe Tang (唐哲) at Shanghai Conservatory, Dr. Ling Zhao (赵聆) at Central Conservatory, and Dr. Vivian Li (李穗荣) at Xinghai Conservatory. After studying in both China and the West, they train some of China’s best young pianists who are recognized on the world’s most competitive stages. This paper shares the teaching methods and philosophies of Tang, Zhao, and Li through comprehensive interviews and lesson observations. It aims to enhance the teaching and performance of pianists, while offering valuable insights into piano education in China.
The document explores Tang’s methods to inspire characters in the music and achieve balance in timing and sound, Zhao’s techniques to position and move the hands and fingers for effortless control, and Li’s approaches to manipulate natural arm weight to create a variety of tones and sounds. Their teaching presents useful ideas for how to effectively communicate music and guide students to become passionate and independent musicians. Techniques taught by Zhao and Li—such as the finger standing stably on the key, grabbing with the hand, and differing approaches to the high finger technique—encourage pianists to investigate the function of different body parts, the interconnectedness of tension and relaxation, where strength should come from, and how to best support weight with ease. Additionally, Tang, Zhao, and Li describe the unique aspects of piano education in China.
ContributorsBurton, Natalie (Author) / Creviston, Hannah (Thesis advisor) / Meir, Baruch (Thesis advisor) / Rockmaker, Jody (Committee member) / Arizona State University (Publisher)
Created2023
Description
Korean composer Youngmin Jin (b. 1959) has composed in a wide variety of genres, including works for solo instruments, chamber music ensembles, orchestra, and opera. Jin has written only five solo piano pieces. This paper discusses three of these works for solo piano: Tschum für Klavier (1998), From Childhood for Piano (2014), and A Little Talk for Piano (2016-2017). Prior to the description of these pieces, the document provides a biography of the composer and introduces his compositional features through examples from his music for other genres. Jin has a flexible approach to tonal organization, which he calls SinJoseong. In certain works he employs such Korean elements as pentatonicism, ornamentation, and distinctive Korean rhythms, incorporating them into his music in Western forms and idioms. Jin's later style tends toward clarity and the use of basic elements, a trend that is evident in the two later piano works discussed here, in particular in their formal structures and their sharing and transforming of motives.
The examination of the content and features of these three piano pieces by Youngmin Jin is augmented by information gained through interviews with the composer. A link to my recording of these works is provided in support of the discussion.
ContributorsLee, Eunhwa (Author) / Holbrook, Amy (Thesis advisor) / Meir, Baruch (Thesis advisor) / Campbell, Andrew (Committee member) / Arizona State University (Publisher)
Created2022
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
ContributorsPagano, Caio, 1940- (Performer) / Ferrari, Cesar (Performer) / ASU Library. Music Library (Publisher)
Created2000-04-10
ContributorsCarpenter, Ellon (Speaker) / Tescarollo, Hamilton (Performer) / Pagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created2006-01-25
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
ContributorsPagano, Caio, 1940- (Performer) / ASU Library. Music Library (Publisher)
Created1995-03-31
ContributorsPagano, Caio, 1940- (Performer) / Boudler, John (Performer) / ASU Library. Music Library (Publisher)
Created1987-02-22
ContributorsDobos, John Octavian (Performer) / Jing, Helen (Performer) / Markina, Anastasia (Performer) / Ulianitsky, Ilia (Performer) / Meir, Baruch (Performer) / ASU Library. Music Library (Publisher)
Created2007-01-28