Despite the emergence of scored vocalizations in piano music in the 1970s, little has been written about the repertoire. In this melopoetic study, the era of the vocalizing pianist is established using Jim Samson's criteria, and related to developments in classical music and trends in avant-garde performance art. Four works exemplify the breadth and variety of the repertoire for vocalizing pianist, as well as the issues and challenges related to it: George Crumb's Makrokosmos I, Frederic Rzewski's De Profundis, Jerome Kitzke's Sunflower Sutra, and David Rakowski's Etude No. 74: Not. In addition to secondary historical sources used to establish the historical context, interviews were conducted with the composers listed above, and pianists who contributed to this fruitful period: David Burge, Anthony De Mare, Lisa Moore, Andrew Russo, and Pamela Reimer. This study introduces various theories and approaches for the creation, preparation, and presentation of works for vocalizing piano, including tools for analyzing texts, developing the natural voice, and rehearsing intricate, layered pieces. This study is intended to serve composers and pianists working within the genre, and also presents new modes of instruction and artistic development relevant to training programs in piano and other instrumental disciplines.
|Commitee:||Gilbert, John, Mirzoeff, Nicholas|
|School:||New York University|
|Department:||Music and Performing Arts Professions|
|School Location:||United States -- New York|
|Source:||DAI-A 74/06(E), Dissertation Abstracts International|
|Keywords:||Crumb, George, De Profundis, Kitzke, Jerome, Piano, Rakowski, David, Rzewski, Frederick, Vocalizing pianist|
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