The Experimental Research on Stylized Teaching Method Used in the Art Guidance of Chinese Undergraduates (Piano Accompaniment) — Take the Teaching of Haidun Piano Sonata as an Example

The major of piano accompaniment has been very popular, but it is very short of the professional director, and the art guidance courses are various. But, the technology and method of piano accompaniment are the compulsory courses however it is divided. In the class and practice activity, stylized teaching must be practiced, which can not only make the students better learn the artistry of the work via the art guidance courses, but it also makes the student have more feelings about the work. In the recent years, the domestic art has been increasingly developing and gradually improved, and piano accompaniment has been a type of profession, which has attracted much attention in the field. Above all, in the paper, it researches and analyses the teaching practice of piano accompaniment to ascertain how to achieve better stylized teaching to indeed improve the quality of art guidance of the Chinese undergraduates, and at the same time to assist Chinese art to get a further development.

Piano Sonatas I–IV

This volume presents a critical edition of Allen Sapp's four earliest piano sonatas, the first written at just age nineteen while he was a student of Walter Piston at Harvard in 1941. Piano Sonatas II, III, and IV were completed while Sapp was on sabbatical from Harvard and living in Rome in 1957. The three Roman piano sonatas are remarkable in that they were composed using serial procedures, yet they were intentionally written to have strong tonal centers (especially the third sonata). Irving Fine, who gave the premiere performance of Piano Sonata I, composed an ossia of a passage in the second movement, which is included in the edition.

Elliott Carter's Analysis of his Piano Sonata (1945-46)

In 1948, Elliott Carter penned an analysis of his Piano Sonata for Edgard Varèse. His analysis of the first movement, in particular, makes one ask why Carter did not subsume its recurrent two-tempo structure under “first group” of its sonata form. Given Carter’s sophistication, was he experiencing a moment of music historical “agnosia,” since two-tempo expositions inform familiar Beethoven works such as Piano Sonata, op.31, no.2 and String Quartet in Bb, op.130. This paper explores Carter’s “agnosia” by way of internal and external evidence. Internally, it revisits the thematic chart he attached to the 1948 analysis and goes on to posit the idea that the work’s quintal neo-tonality so saturates its thematic network themes as to distort the composer’s analysis of the form, historical precedents irrespective. Externally, the paper compares three works by Beethoven to Carter’s Sonata as regards its two-tempo structure, using concepts borrowed from Hepokoski and Darcy’s Elements of Sonata Theory (1999). Finally, the author revisits writings of Carter and his circle that may explain why his analysis downplayed historical precedents to the Piano Sonata.

Schubert’s Large-Scale Sentences

In this article, I share findings from analysis of first-movement sonata forms composed by Franz Schubert from 1810 to 1828. This work builds on prior studies of nineteenth-century sentences (e.g., ".fn_cite($baileyshea_2002).", ".fn_cite($bivens_2018).", ".fn_cite($broman_2007).", ".fn_cite($vandemoortele_2011).", and ".fn_cite($krebs_2013)."), offering an in-depth investigation of Schubert’s use of expanded sentence forms. I theorize the typical qualities of Schubert’s large-scale sentences and highlight a particularly common type, in which the large-scale continuation phrase begins as a third statement of the large-scale basic idea (i.e., a dissolving third statement). I present four examples of this formal type as representative, drawn from the C Major Symphony (D. 944/i), the C Minor Piano Sonata (D. 958/i), the C Major String Quintet (D. 956/i), and the D Minor String Quartet (D. 810/i). My analytical examples invite the reader to contemplate the negotiation of surface-level paratactic repetitions with deeper hypotactic structures. These large structures invite new modes of listening; exemplify the nineteenth-century shift away from the relative brevity of Classical precursors in favor of expanded forms; and problematize facile distinctions between inter- and intrathematic functions. This formal type would eventually flourish over the course of the nineteenth century, underpinning many composers’ strategies for formal expansion.