Pianism in selected partsong accompaniments and chamber music of the Second New England School (Amy Beach, Arthur Foote, George Whitefield Chadwick, and Horatio Parker), 1880-1930

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dc.contributor.advisor Palmer, Robert, 1954- en_US
dc.contributor.author Song, Chang-Jin en_US
dc.coverage.spatial n-us--- en_US
dc.date.accessioned 2011-06-03T19:31:20Z
dc.date.available 2011-06-03T19:31:20Z
dc.date.created 2005 en_US
dc.date.issued 2005
dc.identifier LD2489.Z62 2005 .S66 en_US
dc.identifier.uri http://cardinalscholar.bsu.edu/handle/handle/180964
dc.description.abstract Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The study centered on the four composers' compositional techniques, and the relationship between the voices or strings to the piano was identified. It also revealed the technical demands placed on the pianist. Each partsong or chamber work movement was first briefly analyzed and then suggestions to the pianist/ensemble were made, which were based on the analysis, and that intended to draw the pianist's attention to the most relevant concerns that he will face while preparing this music. The works that I included in this study are from the first period of American history in which American composers wrote significant pieces of art music. The compositions from this turning point in American history reveal a fascinating mix between German Romantic, Modernist, and "American" elements. I found both the partsongs and chamber pieces to be worthy of study, and the large body of works of these four composers, in my opinion, deserves greater exposure.The piano writing, in both their partsongs and chamber works, is quite accomplished and reveals just how gifted these four composers were as pianists. The varied piano textures and the technical demands for the pianist create challenging, yet enjoyable interesting, piano parts, which serve both the partsongs and chamber pieces very well. The piano writing of these four composers' chamber pieces is more complex than that of their partsongs, but both genres contain effective piano parts. Contemporary audiences of classical music would find the piano writing of these works (not to mention the works in their entirety) to be very worthwhile. en_US
dc.description.sponsorship School of Music
dc.format.extent xix, 234 leaves : music ; 28 cm. en_US
dc.source Virtual Press en_US
dc.subject.lcsh Piano music -- United States -- History and criticism. en_US
dc.subject.other Beach, H. H. A., Mrs., 1867-1944. Piano music. en_US
dc.subject.other Foote, Arthur, 1853-1937. Piano music. en_US
dc.subject.other Chadwick, G. W. (George Whitefield), 1854-1931. Piano music. en_US
dc.subject.other Parker, Horatio W. (Horatio William), 1863-1919. Piano music. en_US
dc.title Pianism in selected partsong accompaniments and chamber music of the Second New England School (Amy Beach, Arthur Foote, George Whitefield Chadwick, and Horatio Parker), 1880-1930 en_US
dc.description.degree Thesis (D.A.) en_US
dc.identifier.cardcat-url http://liblink.bsu.edu/catkey/1325988 en_US

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  • Doctoral Dissertations [3210]
    Doctoral dissertations submitted to the Graduate School by Ball State University doctoral candidates in partial fulfillment of degree requirements.

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