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A Survey of Twenty-First-Century Con...

Hwang, Bo Kyung,

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A Survey of Twenty-First-Century Concert Etudes for Piano /

Record Type:	Electronic resources : Monograph/item
Title/Author:	A Survey of Twenty-First-Century Concert Etudes for Piano // Bo Kyung Hwang.
Author:	Hwang, Bo Kyung,
Description:	1 electronic resource (130 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 82-11, Section: A.
Contained By:	Dissertations Abstracts International82-11A.
Subject:	Music history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28418675
ISBN:	9798708797254

A Survey of Twenty-First-Century Concert Etudes for Piano /
Hwang, Bo Kyung,

A Survey of Twenty-First-Century Concert Etudes for Piano /Bo Kyung Hwang. - 1 electronic resource (130 pages)

Source: Dissertations Abstracts International, Volume: 82-11, Section: A.

This document examines the development of the piano etude as a genre in the twenty-first century and how individual contemporary etudes engage with the genre's historical traditions. The study proceeds from thick descriptions of the stylistic characteristics as well as physical challenges in the following concert etudes: Nimrod Borenstein's Piano etude Op. 66, Marc-Andre Hamelin's 12 Etudes in All the Minor Keys, Nos. 2, 4, 7, 8, and 11, Pascal Dusapin's Etudes Nos. 5, 6, and 7, Unsuk Chin's 12 Etudes Nos. 2, 3, 4, and 5, Douglas Boyce's Etudes for Piano, No. 1, Lowell Liebermann's Four Etudes on Songs of Robert Franz, Carter Pann's The Piano's 12 Sides, as well as selections from David Rakowski's etudes involving extended techniques, namely No Stranger to Our Planet, No. 50, Palm de Terre, No. 69, Chase, No. 71, Not, No. 74, Ecco Eco, No. 7, F This, No. 82, Toyed Together, No. 88, You Blew It, No. 92, and Knocksville, No. 94. In order to contextualize the musical rhetoric of contemporary concert etudes, this study begins with an historical overview of the piano etude as a genre, focusing primarily on twentieth-century etudes in chapter one. This chapter discusses how and why twentieth-century etudes tend to be less technically virtuosic in comparison to nineteenth-century etudes, gradually discarding older conventions through applications of atonality, irregular rhythms, looser formal structures, experiments with sonority, extended techniques, and syntheses of jazz, folk, pop, and electronic stylistic influences. The main body of this study are two chapters describing contemporary etudes. Chapter two reconsiders recent piano etudes that incorporate traditional pianistic idioms, while chapter three addresses etudes that employ idiosyncratic, non-conventional idioms that discard nineteenth- and even twentieth-century compositional practices. Following an overview of this body of literature concerning performance practices for contemporary current etudes, the final chapter provides interpretive strategies and practical suggestions for performing twenty-first-century concert etudes. Finally, the appendices integrate further suggestions alongside commentary provided by the original composers as well as some of their original commissioning performers or collaborators.

English

ISBN: 9798708797254Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

21st century music

A Survey of Twenty-First-Century Concert Etudes for Piano /
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520 $a This document examines the development of the piano etude as a genre in the twenty-first century and how individual contemporary etudes engage with the genre's historical traditions. The study proceeds from thick descriptions of the stylistic characteristics as well as physical challenges in the following concert etudes: Nimrod Borenstein's Piano etude Op. 66, Marc-Andre Hamelin's 12 Etudes in All the Minor Keys, Nos. 2, 4, 7, 8, and 11, Pascal Dusapin's Etudes Nos. 5, 6, and 7, Unsuk Chin's 12 Etudes Nos. 2, 3, 4, and 5, Douglas Boyce's Etudes for Piano, No. 1, Lowell Liebermann's Four Etudes on Songs of Robert Franz, Carter Pann's The Piano's 12 Sides, as well as selections from David Rakowski's etudes involving extended techniques, namely No Stranger to Our Planet, No. 50, Palm de Terre, No. 69, Chase, No. 71, Not, No. 74, Ecco Eco, No. 7, F This, No. 82, Toyed Together, No. 88, You Blew It, No. 92, and Knocksville, No. 94. In order to contextualize the musical rhetoric of contemporary concert etudes, this study begins with an historical overview of the piano etude as a genre, focusing primarily on twentieth-century etudes in chapter one. This chapter discusses how and why twentieth-century etudes tend to be less technically virtuosic in comparison to nineteenth-century etudes, gradually discarding older conventions through applications of atonality, irregular rhythms, looser formal structures, experiments with sonority, extended techniques, and syntheses of jazz, folk, pop, and electronic stylistic influences. The main body of this study are two chapters describing contemporary etudes. Chapter two reconsiders recent piano etudes that incorporate traditional pianistic idioms, while chapter three addresses etudes that employ idiosyncratic, non-conventional idioms that discard nineteenth- and even twentieth-century compositional practices. Following an overview of this body of literature concerning performance practices for contemporary current etudes, the final chapter provides interpretive strategies and practical suggestions for performing twenty-first-century concert etudes. Finally, the appendices integrate further suggestions alongside commentary provided by the original composers as well as some of their original commissioning performers or collaborators.
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