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The Improvised Text : = Bodily Regimes of Piano Performance in the Nineteenth Century.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Improvised Text :/
Reminder of title:	Bodily Regimes of Piano Performance in the Nineteenth Century.
Author:	White, Andrew Malilay.
Description:	1 online resource (235 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 83-04, Section: A.
Contained By:	Dissertations Abstracts International83-04A.
Subject:	Music theory. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28713254click for full text (PQDT)
ISBN:	9798460458929

The Improvised Text : = Bodily Regimes of Piano Performance in the Nineteenth Century.
White, Andrew Malilay.

The Improvised Text :Bodily Regimes of Piano Performance in the Nineteenth Century. - 1 online resource (235 pages)

Source: Dissertations Abstracts International, Volume: 83-04, Section: A.

Thesis (Ph.D.)--The University of Chicago, 2021.

Includes bibliographical references

Nineteenth-century pianist-composers like Franz Liszt and Clara Schumann were able to practice for improvisation (and for composition) by using exemplar-based practice methods, which are described in this dissertation. Pedagogues like Friedrich Wieck and Carl Czerny published short exemplars that represented not only harmonic patterns but also common accompanimental strategies and technical flourishes. These exemplars were meant to be varied and practiced in all keys. Practice methods like these contributed to fluency in improvisation, but also in composition and sight reading. This dissertation uses tools from linguistic anthropology, literary theory, and the cognitive study of skill to describe exemplar-based practice methods of the mid-nineteenth century. The phenomena discussed in this dissertation include the unfigured thoroughbass exercise, the idiomatic "little pieces" of postclassical pianism, the piano prelude, and the excerpt collection. In describing these phenomena, it is necessary to adopt a new, practice-oriented vocabulary, widening the traditionally works-based vocabulary of music analysis. This new vocabulary makes it possible to reexamine "improvisation," which has historically been a marker of difference, conceptualized in opposition to a canonic repertory of works.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798460458929Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Clara SchumannIndex Terms--Genre/Form:

542853
Electronic books.

The Improvised Text : = Bodily Regimes of Piano Performance in the Nineteenth Century.
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500 $a Source: Dissertations Abstracts International, Volume: 83-04, Section: A.
500 $a Advisor: Rings, Steven.
502 $a Thesis (Ph.D.)--The University of Chicago, 2021.
504 $a Includes bibliographical references
520 $a Nineteenth-century pianist-composers like Franz Liszt and Clara Schumann were able to practice for improvisation (and for composition) by using exemplar-based practice methods, which are described in this dissertation. Pedagogues like Friedrich Wieck and Carl Czerny published short exemplars that represented not only harmonic patterns but also common accompanimental strategies and technical flourishes. These exemplars were meant to be varied and practiced in all keys. Practice methods like these contributed to fluency in improvisation, but also in composition and sight reading. This dissertation uses tools from linguistic anthropology, literary theory, and the cognitive study of skill to describe exemplar-based practice methods of the mid-nineteenth century. The phenomena discussed in this dissertation include the unfigured thoroughbass exercise, the idiomatic "little pieces" of postclassical pianism, the piano prelude, and the excerpt collection. In describing these phenomena, it is necessary to adopt a new, practice-oriented vocabulary, widening the traditionally works-based vocabulary of music analysis. This new vocabulary makes it possible to reexamine "improvisation," which has historically been a marker of difference, conceptualized in opposition to a canonic repertory of works.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Music theory. $3 547155
650 4 $a Music history. $3 3342382
650 4 $a Musical composition. $3 3289630
653 $a Clara Schumann
653 $a Franz Liszt
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653 $a Piano
653 $a Text
653 $a Thoroughbass
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773 0 $t Dissertations Abstracts International $g 83-04A.
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