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Understanding Samuel Barber's Piano Idiom: A Comparative Analysis of the Hermit Songs, Op. 29 and the Sonata for Piano, Op. 26.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Understanding Samuel Barber's Piano Idiom: A Comparative Analysis of the Hermit Songs, Op. 29 and the Sonata for Piano, Op. 26./
Author:	Hoeft, Charles.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	101 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-12, Section: A.
Contained By:	Dissertations Abstracts International82-12A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28539796
ISBN:	9798505541692

Understanding Samuel Barber's Piano Idiom: A Comparative Analysis of the Hermit Songs, Op. 29 and the Sonata for Piano, Op. 26.
Hoeft, Charles.

Understanding Samuel Barber's Piano Idiom: A Comparative Analysis of the Hermit Songs, Op. 29 and the Sonata for Piano, Op. 26. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 101 p.

Source: Dissertations Abstracts International, Volume: 82-12, Section: A.

Thesis (D.M.A.)--University of Kansas, 2021.

This item must not be sold to any third party vendors.

The solo piano music of Samuel Barber (1910-1981) remains an important part of the twentieth-century piano repertoire despite the limited number of works published by the composer in this medium. Among these works, the Sonata for Piano, Op. 26 is one of Barber's most celebrated compositions. Barber was also a prolific composer of songs for voice and piano, and his Hermit Songs, Op. 29 stands as one of the major song cycles of the century. Because he regularly blended traditional and modern elements in his music, creating something of an eclectic style, Barber's music does not always lend itself neatly to analysis. While many scholars have surveyed and analyzed Barber's solo piano works, both individually and collectively, relatively few scholars have examined his songs, and it seems that nobody to date has undertaken a direct comparison between the solo piano works and the songs. The present study attempts to draw connections between Barber's writing in the Hermit Songs and the Piano Sonata in order to better understand the composer's unique piano idiom. The comparative analysis between these two works concentrates on the criteria of melody, harmony, and figuration, together with other aspects of rhythm and texture. As a result of this focused comparison, it becomes clear that Barber employed many of the same musical elements and stylistic features when he composed for the piano, regardless of genre. Additionally, these ideas regularly display an idiosyncratic treatment of the piano, revealing that Barber was well-acquainted with the mechanics of piano playing and the expressive potential of the instrument.

ISBN: 9798505541692Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Hermit Songs Op. 29

Understanding Samuel Barber's Piano Idiom: A Comparative Analysis of the Hermit Songs, Op. 29 and the Sonata for Piano, Op. 26.
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520 $a The solo piano music of Samuel Barber (1910-1981) remains an important part of the twentieth-century piano repertoire despite the limited number of works published by the composer in this medium. Among these works, the Sonata for Piano, Op. 26 is one of Barber's most celebrated compositions. Barber was also a prolific composer of songs for voice and piano, and his Hermit Songs, Op. 29 stands as one of the major song cycles of the century. Because he regularly blended traditional and modern elements in his music, creating something of an eclectic style, Barber's music does not always lend itself neatly to analysis. While many scholars have surveyed and analyzed Barber's solo piano works, both individually and collectively, relatively few scholars have examined his songs, and it seems that nobody to date has undertaken a direct comparison between the solo piano works and the songs. The present study attempts to draw connections between Barber's writing in the Hermit Songs and the Piano Sonata in order to better understand the composer's unique piano idiom. The comparative analysis between these two works concentrates on the criteria of melody, harmony, and figuration, together with other aspects of rhythm and texture. As a result of this focused comparison, it becomes clear that Barber employed many of the same musical elements and stylistic features when he composed for the piano, regardless of genre. Additionally, these ideas regularly display an idiosyncratic treatment of the piano, revealing that Barber was well-acquainted with the mechanics of piano playing and the expressive potential of the instrument.
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