This research paper examines Guillaume Lekeu's Sonata for Piano and Violin (1892) from the perspective of a collaborative pianist, providing historical background, an analysis of the work's musical structure, and performance practice insights. Each chapter offers the performer a deeper understanding of various aspects concerning the work, including an in-depth analysis of cyclical features used by Lekeu.

Lekeu was strongly influenced by his teacher, César Franck, and in particular by Franck's use of cyclic techniques, which profoundly impacted Lekeu's Sonata for Piano and Violin. The cyclic treatment, which includes cyclic themes, cyclic motives, and non-cyclic themes is discussed, enabling performers to achieve a relevant structural approach to this work. A performance guide includes practical advice for the interpretation and performance of the work, along with piano pedaling suggestions. The integration of these aspects enables a pianist to gain a better understanding and appreciation of Lekeu's Sonata for Piano and Violin.

There are many passages in the standard collaborative piano repertoire that are best executed with average to larger hands, such as densely voiced chords, fast octave passages, spans of 9ths or 10ths, legato lines with wide ranges, or extended arpeggiated passages. As a petite Asian woman with smaller hands, I am frequently engaged to rehearse and perform such works. Such engagements involve a greater amount of practice and preparation, as I spend time determining how to negotiate passages or avoid mistakes that larger hands could easily solve. Nevertheless, despite my best efforts, it is not always possible for one with smaller hands to play exactly what is written by the composer, and one may end up becoming injured by too much stretching of the fingers or hands, which can lead to stress and tension on the arms. This paper will be discussed certain passages from frequently-performed pieces that can be difficult for smaller hands, what makes each passage so awkward or uncomfortable, and provide several solutions that yield musical results without compromising the composer's original intentions. This paper will not only examine orchestral reductions such as concerti, in which the reductions are a mere representation of the composer's true intentions and therefore easier to adjust, but also repertoire originally written for the piano. Three methods will be offered that, while occasionally straying from the printed score, stay as true as possible to the composer's artistic intensions, all the while allowing these collaborative pianists the possibility to approach this repertoire in a realistic fashion.

ABSTRACT



The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece.

Louis Hector Berlioz (1803-1869) was a pioneer of 19th century Romanticism in France. In the mid-19th century, he broke the traditional mold by connecting poetry and music through French song. This development transformed French song from the simple and structured Romance of the 18th century into the structural freedom of what he established as the a Mélodie. His song cycle Les nuits d’été, op 7 was composed first for voice and piano in 1841 and later arranged for voice and orchestra in 1856. After the 1856 orchestral version was completed, Les nuits d’été received greater recognition than it had from its original scoring for voice and piano.

This paper examines three major aspects to Les nuits d’été. First, it will discuss the reasons why Berlioz re-scored the work for orchestra and transposed the vocal part for various voice types in this later orchestral version. Second, it examines the difference between musical interactions in these two versions by comparing the existing scores of each version with its respective accompaniment based on Berlioz's use of word painting. Finally, this paper provides the author's original transcription of Les nuits d’été in a version for voice and piano that incorporates the later orchestral versions which were not included in the original version for voice and piano.

Traditional consensus in duos with grand piano has been that issues of balance between piano and the other instrument can be corrected through lowering the lid on the piano, particularly when the other instrument has been thought of as less forceful. The perceived result of lowering the lid on the piano is to quiet the piano enough so as not to overwhelm the other instrument, though the physics of the piano and acoustics suggest that it is incorrect to expect this result. Due to the physics of the piano and natural laws such as the conservation of energy, as well as the intricacies of sound propagation, the author hypothesizes that lowering the lid on the piano does not have a significant effect on its sound output for the audience of a musical performance. Experimentation to determine empirically whether the lid has any significant effect on the piano's volume and tone for the audience seating area was undertaken, with equipment to objectively measure volume and tone quality produced by a mechanical set of arms that reproduces an F-major chord with consistent power. The chord was produced with a wooden frame that input consistent energy into the piano, with measurements taken from the audience seating area using a sound pressure level meter and recorded with a Zoom H4N digital recorder for analysis. The results suggested that lowering the lid has a small effect on sound pressure level, but not significant enough to overcome issues of overtone balance or individual pianists’ touch.

Contemporary Chinese composers have a rich palette from which to draw inspirations of the distinctive timbres of ancient instruments, the diverse musical types, and the development of musical instruments. Zhou Long, an internationally recognized Chinese-American composer, has created a compositional style that transfers the sounds and techniques of ancient Chinese musical traditions to modern Western instruments. An examination of Zhou Long’s compositions Secluded Orchid and Spirit of Chimes demonstrates his synthesis of Chinese and Western techniques as well as cross-cultural integration. To gain a better understanding of the compositional process of these two piano trios, the author conducted a personal interview with Zhou Long on October 21, 2016, during which he provided unique insight into the influences and inspirations of these pieces. This document describes how the history of ancient Chinese music, the Chinese Cultural Revolution, as well as Zhou Long’s life and education, influenced Seclude Orchid and Spirit of Chimes. The inspirations, formal structures, harmonic language, and compositional techniques that are presented in these works are also discussed. Finally, other repertoires of Zhou Long that share similar ideas or inspirations are explored.

The concert vocalise, a dazzling wordless vocal etude intended for performance, is largely a phenomenon of the twentieth century. Made famous by composers such as Sergei Rachmaninoff and Maurice Ravel, the concert vocalise is generally a short, non-programmatic work with a relatively simple form. In contrast, Nikolai Medtner’s two monumental Op. 41 vocalises, the Sonata-Vocalise mit einem Motto “Geweihter Platz and the Suite Vocalise, are staggering in their length and formal complexity. They are also programmatically conceived, sharing the Goethe poem “Geweihter Platz” as their inspiration.

The innovation of adding a textual element to a traditionally textless genre introduces a tantalizing new layer of complexity that demands further research and exploration. However, as with any innovation, it also offers new challenges to performers wishing to program either or both works. Current scholarship has yet to offer any kind of in-depth analysis of either work, leaving questions as to the structural and motivic elements which bind these large works together, not to mention questions related to exactly how Medtner addresses the challenge of linking specific parts of Goethe’s text to the textless portions of music. Furthermore, neither work is considered standard repertoire, and recordings and performances are limited, leaving aspiring performers in something of an informational desert.

In this paper, I endeavor to fill this informational gap for performers and scholars alike by providing them with a brief biography of Medtner, an outline of the development of the concert vocalise genre, and the background of the Goethe poem that inspired Medtner. Then my in-depth analyses reveal underlying structural, motivic, and programmatic links both within and between the works. Finally, my performer’s guide, based on the analyses and my experience performing both works, offers suggestions regarding the interpretational, ensemble, and technical challenges presented by these great works.

Aspiring opera singers receive training in many different areas including vocal technique, acting, foreign languages, and role preparation to help them prepare for the demands of the standard operatic repertoire. Many of the operatic roles within the standard repertoire are too demanding in their entirety for young singers who are still developing physically and intellectually. Vocal health is a great concern for young voice students and their teachers. An operatic role which demands more stamina or control than a student is currently capable of executing in a healthy way can result in vocal trauma. To avoid assigning repertoire to students which may push their limits, many undergraduate vocal students are not given the opportunity to perform an operatic role in its entirety until after they have graduated.

Pauline Viardot’s operetta Cendrillon provides a solution to the often difficult task of giving experience to young singers without causing them potential harm. The knowledge Viardot gained by having a career both as an opera singer and a voice teacher resulted in a composition which contains full operatic roles that many young singers could capably perform. Viardot was sensitive to the issues that many young singers face, and as a result, she created an operetta which voice faculty can feel comfortable assigning to their students. In order to understand the demands of Cendrillon on young opera singers, this project included a performance of the piece with undergraduate voice students, many of whom had never been in an opera before. Through this process and a comparison of Cendrillon with some of the repertoire these singers will encounter later in their careers, it is clear that Viardot’s insightful compositional style provided a smooth transition for these relatively inexperienced students.

This document examines the many ways in which the arts can benefit rural areas. It aims to illuminate potential opportunities found in rural areas for all types of artists, and discusses important points on building arts programs, organizations, and events in these areas. Having a strong arts presence can positively impact the economy, education system, community and well-being in rural areas. The arts help to strengthen community identity, provide exposure to new artistic experiences while preserving local culture, create a more resilient economy, strengthen the education system, and provide a creative outlet for community members. Musicians visiting a rural community have access to a unique and fulfilling opportunity to create, advocate, share and learn. Creating short and long term arts programs and organizations within these communities is an important way of guaranteeing a more sustainable presence of the arts. This document outlines rural areas and their typical characteristics, discusses the impact the arts can have on the rural economy, education system, and well being of the community and its individuals, and explores the many opportunities and experiences available to visiting artists and musicians in rural areas. It also discusses key issues and approaches when creating arts programs, events, and organizations in rural areas. Interviews with rural residents, artists and musicians, and arts advocates, along with the author’s personal experiences and observations provide unique insight into arts advocacy in rural areas, and why it is important.

The Sonata for Cello and Piano (1915) was one of the last three sonatas written by Claude Debussy (1862–1918). When Debussy composed the sonata, France was involved in World War I and Debussy was influenced by political dogmas that sought to advance nationalism as well as the use of French traditions in musical compositions. By discussing the political impact of World War I on French music, this paper will place the Sonata in a context that strengthens the understanding of the work.

Debussy, who participated in the political project of seeking out tradition as the protector of French culture, also presents his understanding of what French tradition is in this sonata. An analytical description of the structure, thematic materials, harmonies and intervallic relationships of the Sonata reveals Debussy’s approach of combining the elements that he observed from his French predecessors, as well as his own innovations in the work as he negotiated musical world that was controlled by political dogma