Towards an integrated method for practicing: internalizing the composer’s language.

Pim Witvrouw

Name Pim Witvrouw Main Subject Music Theory Supervisors Paul Scheepers / David Kuijken Title of Research Towards an integrated method for practicing: internalizing the composer’s language Research Question In which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes? Summary of Results Musicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don’t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven’s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together. Biography Pim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.

contents
navigation
abstract
Name Pim Witvrouw Main Subject Music Theory Supervisors Paul Scheepers / David Kuijken Title of Research Towards an integrated method for practicing: internalizing the composer’s language Research Question In which ways can we use the outcome of an analysis to develop a practice method focused on learning the general musical language of a score, instead of just memorizing the right notes? Summary of Results Musicians who could very well play, improvise and compose wrote down the majority of repertoire, which we encounter as Western classical musicians. In conservatories and music schools often an attitude towards classical music is developed from a narrower point of view: learning and performing a score. There are extra classes in solfeggio, harmony, improvisation, analysis and counterpoint. However, the reality is that, for most students these subjects are not connected to their practice as instrumentalists. As a pianist, I don’t use all the resources I have as a theorist, and there seems to be a separation between these two practices. Might there be a different way to start practicing a classical work? For the purposes of my research I have chosen one piece as a case study: the first movement of Beethoven's piano sonata n. 31 (op. 110, in A flat major). First I analysed the movement and then I looked at what I can do with the data generated from the analysis. I developed some exercises in order to prepare one for studying the actual work. These exercises could bring theoretical knowledge and improvisation skills into the instrumental lessons and give the player a deeper insight into Beethoven’s harmonic language and use of formal structures. Further research is necessary in order to work out these exercises for more repertoire of all levels, styles and even instruments. It is my intention with this research and future work to bring music theory and activities in the practice rooms of musicians closer together. Biography Pim Witvrouw began his professional music studies at the Young Talent Department of the Lemmensinstituut in Leuven (Belgium) where he studied piano with Stefan Celen. He continued to study in the Netherlands at the Utrecht Conservatory, where he studied with Paolo Giacometti. In addition to this he studied musicology at the University of Utrecht. Pim is currently engaged giving piano lessons and music theory classes at the CKV-Almere. Since September 2018 he also teaches music theory at the Conservatory of Zwolle. In recent years he performed a solo program devoted to works of J.S. Bach.
Pim Witvrouw - Towards an integrated method for practicing: internalizing the composer’s language. - 2019
Meta
Comments
Terms

Part I: Introduction

1.1 Process and initial idea

1.2 Personal trajectory

1.3 Context of the research

1.4 Research questions and method

Part II: Analytical framework

2.1 Harmony

2.1.1 Harmonic reduction and improvisation

2.1.2 Harmonic reduction of opus 110

2.2 Formal analysis and reconstructions

2.2.1 About formal analysis and reconstructing phrases

2.2.2 Analysis of opus 110

2.3 Beethoven’s textures and figurations

2.3.1 General examples form different piano works

2.3.2 Specific examples from the first movement of opus 110

Part III: Results

3.1 About creating the exercises

3.2 Initial version of exercises

3.3 Short manual to the exercises

3.4 Opus 110: an alternative version in the form of exercises

3.4.1 Preparatory exercises

3.4.2 Exercises with material form the score

Conclusions

Main accomplishments

Future work

Bibliography

Literature

Score

Online sources

Tip

Tip