Nineteenth-century piano music: essays in performance and.
Program music, instrumental music that carries some extramusical meaning, some “program” of literary idea, legend, scenic description, or personal drama.It is contrasted with so-called absolute, or abstract, music, in which artistic interest is supposedly confined to abstract constructions in sound. It has been stated that the concept of program music does not represent a genre in itself.
Although he lectured on diverse musical subjects covering medieval keyboard compositions, Baroque composers, Purcell, Mozart, Haydn, Music under the Tsar and the Soviet Union, Ravel, Brahms, Schubert, 20th-century music, his scholarly focus was the work of Domenico Scarlatti, Modest Mussorgsky, and Igor Stravinsky.
The piano has long been a valuable member of American families. The instrument has been around since the 1700's and is still popular today as people own them for the enjoyment of music as well as the eye pleasing elegance of the furniture itself. The music that comes from these magnificent instrum.
Character piece, relatively brief musical composition, usually for piano, expressive of a specific mood or nonmusical idea. Closely associated with the Romantic movement, especially in Germany, 19th-century character pieces often bore titles citing their inspiration from literature (such as Robert.
According to Bent, analysis is a relatively young discipline “analysis as a pursuit in its own right became established during the 19th century” (Bent, 2006, p.13), although basic methods of analysis of music has been suggested to date back to the eighteenth century and have become a seductively compelling and important topic for music scholars over the last fifty years, and as a result.
Music and Performance Culture in Nineteenth-Century Britain: Essays in Honour of Nicholas Temperley is the first book to focus upon aspects of performance in the broader context of nineteenth-century British musical culture.
The Piano Trio (piano, violin and cello) was one of the most important forms of chamber music from the late 18th to well into the 19th century. Much chamber music was written for performance in the salons of the patrons and performers. Concert performances of trios such as this became more common as the.