Luk Vaes

 
       

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TEXTS - Extended Techniques
  - Abstract
  - Thesis

 

Abstract

Improper playing techniques have suffered a consistent lack of understanding from both a theoretical and a practical point of view. Although the so-called Extended Techniques exist in a substantial part of the repertoire for the piano and have done so for a century now, the literature on the subject is next to non-existent whereas the use of the techniques on stage still mostly sparks off strong negative reactions by audiences, composers, performers and tuners as well as owners of pianos. Any one-sided approach to appreciation has proven to be inadequate: academic analyses have not succeeded in their attempt to attribute a purely theoretical nature to the topic, endeavours by musicians to teach and advise on the 'proper' use of the techniques in keeping with respect for the instrument and the composers' wishes have come short of any structural and in-depth handling of the matter. A comprehensive survey is in order, demanding a specific perspective from which to examine this 20th century phenomenon in the context of both its history and its performance practice.

 

 

Thesis


(under construction)

CONTENTS


PREFACE
OUTLINE
USAGES
ABBREVIATIONS
TABULA GRATULATORIA

1. INTRODUCTION: STATUS QUAESTIONIS

2. IN THEORY: DEFINING THE SUBJECT AND REFINING THE TERMINOLOGY

2.1. The piano
2.2. Piano playing technique
2.3. Extensions of piano and its performance technique

3. IN HISTORY: THE EXTENDED PIANO

3.1. Introduction

3.2. c1724-c1816: Early extensions

3.2.1. Context
3.2.2. Sources
3.2.3. Summing up: the early piano's virtual identity

3.3. c1816-c1911: The rise and fall of the glissando

3.3.1. Context
3.3.2. Sources
3.3.3. Summing up: the extent of the standard piano

3.4. c1911-present: the extended piano

3.4.1. Context
3.4.2. Sources
3.4.3. Summing up: towards a mature instrument

3.5. Conclusions

4. IN PRACTICE: EXTENDED TECHNIQUES

4.1. Introduction: On authenticity
4.2. Trouble shooting guide
4.1.1. General
4.1.2. Percussion piano
4.1.3. String Piano
4.1.4. Bowed Piano

5. APPENDICES

6. BIBLIOGRAPHY