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César Franck’s early piano works: documenting the implicit
Full text linkThe discovery of César Franck’s Op. 7 Souvenirs d’Aix-la-Chapelle (1843) encourages a fresher, more complete understanding of his early piano works. A look at other solo piano works from this period — the Op. 3 Églogue (1842), Op. 5 Caprice (1843) and the Op. 9 Ballade (1844) —allows a re-assessment of his compositional processes. Elements of compositional practice found in the young César Franck’s output can be seen in his late period, often implied but never adequately presented in previous scholarship. The ‘musical style’ of César Franck will be addressed, as found in literature and through personal research, with several elements of his compositional habits compartmentalised, defined and located in both early and late piano works. Using the terms created for this thesis, a detailed examination will be made of the aforementioned four early piano works, with location of elements such as Cathedral of Sound (large registral sonority, inactivity of harmony and loose rhythmic pulse) and Infinite Melody (static tonality, repetition of scalic phrases from a weak beat). It will be discovered that certain aspects of assumed stylistic tendencies in César Franck are misinterpreted, such as his idiosyncratic use of basses misconstrued as originating from his time at the organ, or at least misinformed, such as the quarrelling opposing sides regarding the dilemma of his character in music, whether spiritual or erotic.
While the early piano works never elevated to the level of his late triptychs, their transparency in harmonic and formal processes as well as treatment of thematic material allows for clear dissection of his compositional style, many elements of which can then be transferred to his final works for a more holistic approach to his output
What next for conservatoires?
No full textInside the Contemporary Conservatoire has juxtaposed a range of voices from both within and beyond the Royal College of Music, London (RCM). Over the course of the preceding pages, we have moved from rethinking conservatoire identities and values (Part I), to exploring learning and teaching in the conservatoire (Part II), to considering conservatoires of the future (Part III). Readers will have observed myriad different views, informed by those working in a multitude of roles and with varied musical, educational, and professional backgrounds. Reflecting on key themes from across the book, this short conclusion foregrounds some of the potential areas for development as we continue to shape and reimagine the contemporary conservatoire
Pedagogies of composing
No full textThis chapter explores essential pedagogical questions for music teachers to reflect upon when teaching composing in the classroom. Starting with the historical and contextual background of composing in English schools, this chapter summarises some of the current challenges teachers face, such as confidence and assessment requirements. Drawing on previous research, this chapter goes on to outline the different ways composing can be taught and learnt with four pedagogical approaches being identified and discussed: composing as (1) creativity, (2) self-expression, (3) craft, and (4) cultural knowledge. Under these four headings, their different pedagogical aims and ideologies are presented, along with examples of practice and the limitations of each pedagogy. This chapter aims not to create a hierarchy of composing pedagogy, but to encourage the reader to reflect upon the place, purpose, and suitability of different approaches. Following the discussions of the four pedagogical approaches, an integrated model of composing pedagogy is theorised that acknowledges the interconnected relationship between craft and creativity. By combining the four composing pedagogies, this chapter asks the reader to view progression and planning for composing as long term. The model acts as a visual aid for music educators to reflect on their own teaching and expand their own knowledge and practice of composing pedagogy
Introduction: tracing conservatoire values past, present, and future
No full textAll modern conservatoires originated from the radical developments initiated during the foundation of the Paris Conservatoire in 1795 in the wake of the French Revolution. Although its influence spread throughout Europe and beyond during the nineteenth century, no satisfactory system of professional music education yet existed in Britain some 90 years later. This chapter begins by setting out the origins of the Royal College of Music’s original three core values of access, advocacy, and excellence, reflecting on the social context at the time these values were established and comparing this with the society of today. How has the realisation of these values in practice evolved from 1882 to the present, and what internal and external factors have shaped this evolution? To what extent are these values still relevant today and are they applicable to all conservatoires, nationally and internationally? This introductory chapter lays the groundwork for defining institutional purpose today and outlines the scope for renewal
Exquisite yet elusive: can chalumeau sound be recreated?
No full textIn his article for the journal Early Music, published in 1979, Colin Lawson expresses
surprise at the relative neglect of the chalumeau amidst burgeoning interest in instruments and music from the clarinet’s formative years, particularly given the breadth of chalumeau repertoire. Lawson, having recently undertaken the first detailed study of the chalumeau, ascribes the “unusual relationship” between these two instruments to a disparity between their physical similarities and their “musical roles.” Over 40 years later, many explorations across theory and practice have enabled us to redress the chalumeau’s neglect. The symposium at Kloster Michaelstein presented the opportunity to celebrate these achievements together
Tra le fiamme
No full textSoprano Rowan Pierce joins Florilegium and Ashley Solomon in 'Tra le fiamme' - a new recording of secular cantatas by G. F. Handel and J. S. Bach. 'Tra le fiamme' is one of Handel's Italian style cantatas, combining vocal virtuosity with deep emotional expressivity. Bach’s cantata 'Ich bin in mir vergnügt' is an elegant example of one of his secular cantatas. This cantata stands out for its reflective exploration of themes of inner peace, contentment, and stoic philosophy - qualities that reflect Bach’s interest in moral and philosophical themes outside of his sacred music. Also included here is the final virtuosic 'Alleluia' from Vivaldi’s motet 'In furore iustissimae irae' together with instrumental concertos by Vivaldi and Handel
New methods for measuring shared and divergent visitor experience: a pilot study at the Royal College of Music Museum
Full text linkWe report on a new method for anonymously measuring shared and divergent museum visitor reactions to specific content of exhibits, going beyond more general standardized evaluations of overall experience. In a small pilot study, six visitors reported three things that had most struck them about their visit, and they later rated the extent to which they agreed with other visitors’ anonymized reports. The method reveals which objects generate more and less attention and interpretive consensus and the extent to which visitors understand museum content as curators hope. It also allows assessment of which museum materials (display text, audio, video, tour script) contribute to visitors’ commentary and how differently different kinds of visitors experience the museum. Expanded versions of this method could inform iterative exhibit development, and interactive representations of data sets like that collected here could allow exhibit designers and curators to gain insight into visitor experience from alternate perspectives
The healthy musician
No full textThis chapter focuses on the importance of health and well-being in musical careers, reflecting on the conservatoire’s role in advocating for healthy and sustainable practices across education and industry. It reviews existing knowledge in the field, focusing on the health benefits as well as challenges of being a musician. Informed by this evidence, it introduces and critiques initiatives designed to optimise health within the conservatoire through curriculum-based and extracurricular activities and support networks. It also highlights the roles the conservatoires have played in shaping health initiatives and knowledge across the wider industry, including the leadership of cross-sector networks designed to share good practice and conducting pioneering research examining what it means to be a healthy musician
No pain, no gain? Satisfaction and frustration of basic psychological needs, somatic burden, giving up, and life satisfaction in music students
Full text linkPerformance-related somatic symptoms may include pain, weakness, numbness, and tingling, and they are commonly experienced by students in higher music education. From a self-determination theory perspective, this study examines the relationship between basic psychological need satisfaction (BPNS) and frustration, somatic symptom burden, giving up, and life satisfaction among music performance students (n = 281). Two theoretical models were tested hypothesizing that music students’ BPNS would be negatively associated with both students’ somatic symptoms and giving up and positively related to general life satisfaction. Basic psychological need frustration (BPNF) was anticipated to have the opposite relations. The two models were confirmed. Participants whose basic psychological needs were satisfied were unlikely to be burdened by somatic symptoms and giving up and simultaneously likely to experiencing high levels of general life satisfaction. Conversely, participants whose basic psychological needs were frustrated were more likely to be burdened by various somatic symptoms and to giving up facing adversity. Need-frustrated participants also reported low levels of life satisfaction. This study contributed to extending the application of self-determination theory to address somatic symptom burden in the context of music performance. Educational implications are discussed in the light of teaching and learning in higher music education
Cultural fusion in piano compositions by composers who immigrated to Israel from the Soviet Union and the former Soviet Union
Full text linkThis research investigated the way the motivation of composers who immigrated to Israel from the Soviet Union and the former Soviet Union influenced their compositional styles. It focused on eight composers who immigrated in two periods: Mark Kopytman, Lev Kogan, and Joseph Dorfman, who immigrated in the 1970s; and Josef Bardanashvili, Benjamin Yusupov, Emanuel Vahl, Irena Svetova, and Oleg Bogod, who immigrated in the 1990s. Detailed biographical information is provided for each composer, much of which is original. Earlier sociological research maintained that immigration in these two periods was driven by different motivations: in the 1970s because of ideological aspirations, and in the 1990s due to the economic collapse of the former Soviet Union. However, interviews, archival material, and examination of their solo piano compositions revealed that all the composers were driven by ideological motivations related to their Jewish identity. Piano works were examined before and post-immigration, and a significant increase in the incorporation of Jewish musical motifs was discovered and this reflected the composers’ newfound freedom of expression in Israel. Furthermore, these compositions exhibited diverse cultural fusion. To help identify the various musical motifs, I used a
unique method of practice research, known as “think aloud”, while preparing the solo piano works for performance. A chapter is devoted to the foundations of Jewish and Israeli art music, and another focuses on Jewish composers and Jewish art music’s development in the Soviet Union. These chapters provide the historical context for the composers and compositions examined in this work. The influence of the Russian nationalist composers, “The Five”, in the creation of Jewish art music, and the establishment of the St Petersburg Society for Jewish Folk Music is discussed. A chapter is devoted to Musorgsky’s Pictures at an
Exhibition, a work of considerable significance in the development of Jewish art music