Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel
This essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of i...
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Örebro universitet, Musikhögskolan
2008
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ndltd-UPSALLA1-oai-DiVA.org-oru-85252017-10-19T05:22:25ZPianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempelswePiano Improvisation according to Czerny and Liszt : Nineteenth Century Preluding and Piano Improvisation Practice: Analysis and ExamplesEdin, MartinÖrebro universitet, Musikhögskolan2008nineteenth century musicpiano improvisationimprovisationpreludepreludesCzernyLiszt1800-talets musikpianoimprovisationimprovisationpreludiumpreludierCzernyLisztMusicologyMusikvetenskapThis essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of improvising to modern piano playing. The artistic part of the work is as important as the theoretical, and the two strands are supporting and reinforcing each other. The first section of the text focuses on preluding – that is, a genre of improvisation. The second section investigates some aspects of the improvising of Franz Liszt – that is, different types of improvisation as practised by an important nineteenth century musician. The instructional music literature written by Carl Czerny is the basic source of reference in both portions. The text and the recordings of my piano improvisations aim to show that monothematic strategies are simple and useful tools for improvising, regardless of tonal language used. Half of the recordings consist of improvisations of separate pieces in a contemporary musical language. The other half are preludes, interludes and a cadenza improvised in the context of compositions by Liszt, Chopin, Mozart, Mendelssohn and Grieg. Student thesisinfo:eu-repo/semantics/bachelorThesistexthttp://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-8525D-uppsatser vid Musikhögskolan ; 2008:2application/pdfinfo:eu-repo/semantics/openAccess |
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Swedish |
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Others
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nineteenth century music piano improvisation improvisation prelude preludes Czerny Liszt 1800-talets musik pianoimprovisation improvisation preludium preludier Czerny Liszt Musicology Musikvetenskap |
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nineteenth century music piano improvisation improvisation prelude preludes Czerny Liszt 1800-talets musik pianoimprovisation improvisation preludium preludier Czerny Liszt Musicology Musikvetenskap Edin, Martin Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel |
description |
This essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of improvising to modern piano playing. The artistic part of the work is as important as the theoretical, and the two strands are supporting and reinforcing each other. The first section of the text focuses on preluding – that is, a genre of improvisation. The second section investigates some aspects of the improvising of Franz Liszt – that is, different types of improvisation as practised by an important nineteenth century musician. The instructional music literature written by Carl Czerny is the basic source of reference in both portions. The text and the recordings of my piano improvisations aim to show that monothematic strategies are simple and useful tools for improvising, regardless of tonal language used. Half of the recordings consist of improvisations of separate pieces in a contemporary musical language. The other half are preludes, interludes and a cadenza improvised in the context of compositions by Liszt, Chopin, Mozart, Mendelssohn and Grieg. |
author |
Edin, Martin |
author_facet |
Edin, Martin |
author_sort |
Edin, Martin |
title |
Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel |
title_short |
Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel |
title_full |
Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel |
title_fullStr |
Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel |
title_full_unstemmed |
Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel |
title_sort |
pianoimprovisation enligt czerny och liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel |
publisher |
Örebro universitet, Musikhögskolan |
publishDate |
2008 |
url |
http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-8525 |
work_keys_str_mv |
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