A study of innovative piano technique in published works of selected composers from 1950-1975

Cardinal Scholar

Show simple item record

dc.contributor.advisor Kohler, Jean Charles, 1916-1980 en_US
dc.contributor.author Stafford, Larry Dale, 1943- en_US
dc.date.accessioned 2011-06-03T19:31:29Z
dc.date.available 2011-06-03T19:31:29Z
dc.date.created 1978 en_US
dc.date.issued 1978
dc.identifier LD2489.Z62 1978 .S7 en_US
dc.identifier.uri http://cardinalscholar.bsu.edu/handle/handle/181100
dc.description.abstract This study surveys and categorizes new techniques of sound production for the pianoforte which have come into prominent use since 1950. In addition the project developes a series of ten study pieces (etudes) which aid advanced piano students in acquiring the basic techniques required to perform many of the piano compositions written since 1950.A review of the piano literature of selected composers from 1950-1975 revealed thirteen basic techniques which have come into common use in these twenty-five years. Although many more techniques exist, they are combinations or variations of these basic techniques. The thirteen techniques have been classified into four categories: string techniques, keyboard techniques, string/keyboard techniques, and pedal techniques. Only techniques using sounds derived from the manipulation of the strings, keyboard, and pedals of the piano were included in this study.Although the study reveals that many of the techniques discussed were first introduced in the earlier part of the twentieth century, particularly through the compositions of Henry Cowell, they did not become common compositional techniques until the years after 1950. Their popularity after 1950 can be seen as part of a trend of composers becoming captivated with "sounds" per se, apart from their melodic or harmonic significance. This interest and fascination with "sound events" set the proper climate for the widespread development of the pianoforte techniques discussed in this paper. The development of the tape recorder and the long playing record made the interchange of musical ideas and the new techniques readily accessible.This study serves to clarify much of the mystique which surrounds many of the pianoforte compositions published since 1950. It discusses the new notational symbols used to designate the techniques and gives practical suggestions as to their proper execution.The series of study pieces developed for this project are meant to serve as an introduction to the new techniques. Although the pieces are written for the advanced piano student they are devoid of the rhythmic and visual complications which often surround compositions incorporating the new techniques. Except for two etudes, each piece uses only one new technique. en_US
dc.format.extent v, 139 leaves : music ; 28 cm. en_US
dc.source Virtual Press en_US
dc.subject.lcsh Piano -- Performance.
dc.subject.lcsh Composition (Music)
dc.subject.lcsh Musical notation.
dc.title A study of innovative piano technique in published works of selected composers from 1950-1975 en_US
dc.description.degree Thesis (D.A.) en_US
dc.identifier.cardcat-url http://liblink.bsu.edu/catkey/285482 en_US
dc.identifier.cardcat-url http://liblink.bsu.edu/uhtbin/catkey/1839547

Files in this item

Files Size Format View

There are no files associated with this item.

This item appears in the following Collection(s)

  • Doctoral Dissertations [3248]
    Doctoral dissertations submitted to the Graduate School by Ball State University doctoral candidates in partial fulfillment of degree requirements.

Show simple item record

Search Cardinal Scholar


My Account