Medium size project model: Variations on a theme

2005 ◽  
pp. 3-24 ◽  
Author(s):  
Peter J. Knoke
Keyword(s):  
Medium Size ◽  
Project Model ◽  
Variations On A Theme

14. PM10 AND PM2.5 Correlations in Two Medium-Size Metropolitan Areas

2000 ◽  
Author(s):  
N. Esmen ◽  
T. Hall ◽  
D. Johnson ◽  
R. Lynch ◽  
M. Phillips ◽  
...  
Keyword(s):  
Metropolitan Areas ◽  
Medium Size ◽  
Pm10 And Pm2.5

Bond-Extended Stochastic and Non-Stochastic Bilinear Indices. 1. QSPR/QSAR Applications to the Description of Properties/Activities of Small-Medium Size Organic Compounds

2008 ◽  
Author(s):  
Yovani Marrero-Ponce ◽  
Eugenio Martínez ◽  
Gerardo Casañola-Martín ◽  
Facundo Pérez-Giménez ◽  
Yunaimy Díaz ◽  
...  
Keyword(s):  
Organic Compounds ◽  
Medium Size

Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism

2017 ◽  
Vol 70 (3) ◽  
pp. 697-765
Author(s):  
Alexander Stefaniak
Keyword(s):  
Cutting Edge ◽  
Critical Discourse ◽  
Robert Schumann ◽  
Piano Concerto ◽  
Sheet Music ◽  
Variation Sets ◽  
Music Market ◽  
Critical Responses ◽  
Drawing Room ◽  
Variations On A Theme

In her contemporaries’ imaginations Clara Schumann transcended aesthetic pitfalls endemic to virtuosity. Scholars have stressed her performance of canonic repertory as a practice through which she established this image. In this study I argue that her concerts of the 1830s and 1840s also staged an elevated form of virtuosity through showpieces that inhabited the flagship genres of popular pianism and that, for contemporary critics, possessed qualities of interiority that allowed them to transcend merely physical or “mechanical” engagement with virtuosity. They include Henselt's études and variation sets, Chopin's “Là ci darem” Variations, op. 2, and Clara's own Romance variée, op. 3, Piano Concerto, op. 7, and Pirate Variations, op. 8. Her 1830s and early 1840s programming offers a window onto a rich intertwining of critical discourse, her own and her peers’ compositions, and her strategies as a pianist-composer. This context reveals that aspirations about elevating virtuosity shaped a broader, more varied field of repertory, compositional strategies, and critical responses than we have recognized. It was a capacious, flexible ideology and category whose discourses pervaded the sheet music market, the stage, and the drawing room and embraced not only a venerated, canonic tradition but also the latest popularly styled virtuosic vehicles. In the final stages of the article I propose that Clara Schumann's 1853 Variations on a Theme by Robert Schumann, op. 20, alludes to her work of the 1830s and 1840s, evoking the range of guises this pianist-composer gave to her virtuosity in what was already a wide-ranging career.

Brahms, Rhythm, and the Renaissance

2012 ◽  
Vol 8 ◽  
Author(s):  
Eleanor Heisey
Keyword(s):  
Compositional Style ◽  
The Past ◽  
Piano Quartet ◽  
Look Back ◽  
Variations On A Theme

Johannes Brahms’s deep engagement with the past contributed to his compositional style in many ways. This article considers Brahms techniques that look back to and expand on those of Renaissance composers, in particular metric conflict and cadences, voice displacement, changes in proportion, rhythmic augmentation and diminution, and the hocket. Examples are taken from Brahms’s Academic Festival Overture, Variations On A Theme By Haydn, Piano Quartet in A Major, and Symphony No. 3 in F Major.

Sign in / Sign up

Export Citation Format

Share Document