![]() In particular, I offer new perspectives on the validity of the double-function form, insight into the rhetorical layout of a rotational discourse, and propose a nuanced analysis befitting of this striking work. The title ‘Sonata’ has clear generic implications, many of which are met by Liszt Sonata Theory provides a model with which to outline the compositional deformations employed by the composer and the implications of this practice. Finally, I shall use Sonata Theory to survey the Sonata in B Minor’s landscape in a new light. An understanding of these historical conceptions of the piece allows one to then highlight areas of conflict and offer a new solution. ![]() Previous research reveals two main theoretical camps those in favour of a multi-movement analysis (with conflicting hypotheses therein) and those in favour of a single movement sonata form. I shall first consider the historical analyses placed upon the work that deal with structural design, as it pertains to the paradigm of Classical sonata-form. Hepokoski and Warren Darcy’s Sonata Theory upon Liszt’s magnum opus for the instrument, the Sonata in B Minor. This paper seeks to explore the practical application of James A. However, one also finds striking development of formal design and tonal harmony in many of the works for his principal composition medium, the piano. I will provide my answers to said questions in the conclusion of this essay.įranz Liszt has all too often been discarded as the virtuosic showman, despite the fact that his orchestral works have often gained great praise and attracted scholarly engagement. It’s an interplay between something linear and sonorous and something else that is very staccato.” The “interplay” between the “staccato” and the “linear” will therefore be examined, within the context of its rhythmic features-and thus, by tracing these features, my essay aims to compare and discuss the connections of the gigue into this twenty-first century work. Additionally, this analysis will explore the structure of the piece, due to the composer’s description: “I’m thinking of it like a fantasia in two parts, but it’s two musics, not two voices. The first question it attempts to answer, based on this essay’s score analysis: (1) How does Harrison Birtwistle’s most recent piano work, Gigue Machine, relate to the gigue dance form that is part of the Baroque suite? (2) In your own practice as a composer, under which conditions would you allow references to music of the past (if at all)? In this essay, the analysis will attempt to trace early music influences in Birtwistle’s score-specifically some (i) rhythmic materials that connect to the gigue movement (from a Baroque dance suite), as well as (ii) imitative counterpoint/materials, which is also a feature of a gigue. The last chapter provides a comparison between Tanasescu’s polyphonic patterns and examples from the Classic and Romantic piano repertoire.Īn analysis of Harrison Birtwistle’s Gigue Machine (2011) attempts to answer the following questions, regarding the composer’s influence of early music and my reaction to this aesthetic approach in composition. Chapter Four presents Tanasescu’s new transposition method and its benefits. Each exercise is compared with previous examples by Liszt, Pischna, and Dohnanyi. Chapter Three provides an analysis of all polyphonic exercises with two voices contained in Book III of Tanasescu’s Treatise. Chapter Two contains an analysis of Tanasescu’s main technical terms and principles. Dohnanyi, and a brief presentation of the Treatise of Pianistic Technique’ s four Books. ![]() The first chapter provides a succinct description of previous fingering systems of C. ![]() The purpose of this study is to illustrate the characteristics of Tanasescu’s fingering system presented in Treatise of Pianistic Technique, and provide insights from a historical and technical perspective. Earlier methods organize the technical material by one principle: fingerings. His treatise continues previous technical approaches of A. Tanasescu’s main contribution to the piano technique is the application of math permutation formulas to create all possible arrangements of fingering patterns. The Treatise contains four books, each one dedicated to a segment of technical problems. ABSTRACT This study examines Dragos Tanasescu’s fingering system and technical exercises presented in Treatise of Pianistic Technique. ![]()
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