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Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and “Tape”

Ding, Shiau-Uen
http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179467001

Abstract Details

2007, DMA, University of Cincinnati, College-Conservatory of Music : Piano.
Music reflects the society and technology of its age. For 21st century pianists, in addition to mastering traditional solo piano and chamber repertoire, cultivating skills in performing new music and electro-acoustic music is necessary to adapt a centuries-old instrument to contemporary musical languages, aesthetics and technologies. Numerous well-known pianists have specialized in acoustic new music. The electro-acoustic music world, though, has not attracted equally prominent pianists/composers, and in general not enough pianists have specialized in electro-acoustic music. Within the field of electro-acoustic music, the genre of music for acoustic instrument(s) and tape has generated less interest recently than that using real-time sound processing. One reason for this neglect may be the mistaken belief that a fixed “tape” part does not allow for enough performance interaction and hence reduces musicality. This document investigates a number of pieces for piano and tape with respect to their performance practice, to serve a pedagogical function for both pianists and composers in both technical and aesthetic terms, and ultimately argues that music for acoustic instrument(s) and tape remains a flexible and musically valid genre. The repertoire examined includes Christopher Bailey’s Balladei, Luigi Nono’s …sofferte onde serene…, Mario Davidovsky’s Synchronisms No. 6, Jonathan Harvey’s Tombeau de Messiaen, James Mobberley’s Caution to the Winds and Into the Maelstrom, and Katharine Norman’s Trying to Translate. These works are chosen as examples of four distinct types of music for instrument(s) and tape, categorized by the kind of interaction evident between the tape and acoustic parts. The research method includes interviews with pianists specializing in electro-acoustic music, critical reflection on my own experience of performing, and interviews with living composers whose pieces are included in this document.
Dr. Mara Helmuth (Advisor)
63 p.
Education, Music; Music
contemporary music; computer music; electroacoustic; electro-acoustic; piano; tape; Christopher Bailey; Balladei; Luigi Nono; sofferte onde serene; Mario Davidovsky; Synchronisms; Jonathan Harvey; Tombeau de Messiaen; James Mobberley

Recommended Citations

Citations

  • Ding, S.-U. (2007). Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and “Tape” [Doctoral dissertation, University of Cincinnati]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179467001

    APA Style (7th edition)

  • Ding, Shiau-Uen. Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and “Tape”. 2007. University of Cincinnati, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179467001.

    MLA Style (8th edition)

  • Ding, Shiau-Uen. "Sitting at the Piano, Cradled by Speakers: Developing a Rhythmic Performance Practice in Music for Piano and “Tape”." Doctoral dissertation, University of Cincinnati, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179467001

    Chicago Manual of Style (17th edition)

ucin1179467001
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© 2007, all rights reserved.
This open access ETD is published by University of Cincinnati and OhioLINK.