Elektronisch Neer Te Leggen Versie Dissertatie Luk Vaes Deel 1

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    Extended Piano Techniques   In Theory, History and Performance Practice Inside of the Steinway grand piano at the International Arts Center deSingel   in Antwerp (Belgium). The key to the lock of the defense mechanism (at the far left of the board) is in the care of the head technician.   Luk Vaes 2009    INDEX PREFATORY MATTERS i  Abstract i  Usages & abbreviations i  Tabula Gratulatoria iii  1. INTRODUCTION 1  1.1 Status Quaestionis 1  1.2 Methodology 3  2. IN THEORY: DEFINING THE SUBJECT AND REFINING THE TERMINOLOGY 4  2.1 Extended Piano Techniques: two perspectives 4  2.2 Premise 8  2.3 The piano proper 8  2.3.1 The piano as a musical performance tool 9  2.3.2 The srcinal intention: instromento piano et forte 10  2.3.3 Genealogical position of the piano 15  2.3.4 The  piano 16  2.4 The extended piano 17  2.4.1 Classification of extensions 18   2.4.1.1 Limits of the extended piano 18 2.4.1.2 Degrees of improperness 19 2.4.1.2.1 Low-grade extensions 19 2.4.1.2.2 Medium-grade extensions 19 2.4.1.2.3 High-grade extensions 20 2.4.2 Perspectives on the extended piano 22  2.4.3 Extra nomenclature of the extended piano 22  2.5 Individual extended techniques  24  2.5.1 The piano glissando 24   2.5.1.1 Etymology 24 2.5.1.2 On the nature of glissandos: a question of interfaces 24 2.5.1.3 Conceptual vs. performance practical provenance 26 2.5.1.4 Morphology and ergonomics 28 2.5.1.4.1 Touch 28 2.5.1.4.2 Beginning and ending 28 2.5.1.5 Timbral characteristics 31    2.5.1.6 Types of glissandos 32 2.5.1.6.1 General terminology 32 2.5.1.6.2 Special types 32 2.5.1.6.2.1 Micro- and whole-tone glissandos 32 2.5.1.6.2.2 (Pseudo-) chromatic glissando 32 2.5.1.6.2.3 Density-shift 33 2.5.1.6.2.4 Cluster-glissando 33 2.5.1.6.2.5 Blocked-key and blocked-damper glissandos 34 2.5.1.7 Notational issues 35 2.5.1.8 Speed and Kinetics 37 2.5.2 The piano cluster 38   2.5.2.1 Problems in defining a cluster 38 2.5.2.2 Historical cluster theories 41 2.5.2.2.1 Henry Cowell’s Tone-Clusters 41 2.5.2.2.1.1 Definitions 41 2.5.2.2.1.2 Building clusters 43 2.5.2.2.1.3 Use of clusters 49 2.5.2.2.1.4 On notating the cluster as a single unit 53 2.5.2.2.1.5 Some terminology 54 2.5.2.2.2 Mauricio Kagel 55 2.5.2.2.3 Pierre Boulez 58 2.5.2.2.4 György Ligeti 60 2.5.2.3 Reconsidering the cluster 60 2.5.2.3.1 Etymology and conceptual essence 60 2.5.2.3.2 Checking the cluster concept with the three perspectives 61 2.5.2.3.3 The cluster and the piano 63 2.5.2.3.4 Defining the cluster as an extended piano technique 64 2.5.2.3.5 Parameters of the piano cluster 66 2.5.2.3.5.1 Ambit 66 2.5.2.3.5.2 Sonority 66 2.5.2.3.5.3 Density 67 2.5.2.3.5.4 Register 67 2.5.2.3.6 Terminology and types 67 2.5.2.3.7 Notation 68 2.5.3 In between glissando and cluster 70  2.5.4 Extensions of pedal functions and related techniques 70   2.5.4.1 Proper pedal usage 70 2.5.4.1.1 Introduction: in general 70 2.5.4.1.2 Una corda 71 2.5.4.1.3 Sostenuto 72 2.5.4.1.4 Sustaining 72 2.5.4.2 Extended pedal techniques 72 2.5.4.3 Silently depressed keys 73 2.5.4.3.1 Selectively activating open strings 73 2.5.4.3.2 Catching resonance 75 2.5.4.3.3 Filtering resonance 75    2.5.5 The prepared piano 76 2.5.5.1 Definition 76 2.5.5.2 Acoustics of the mutes 77 2.5.5.3 Physical characteristics of the interaction between mute and strings 77 2.5.5.3.1 General 77 2.5.5.3.2 Pitch vs. noise 78 2.5.5.3.3 Influences on the sound through characteristics of the material 78 2.5.5.3.3.1 Mass 78 2.5.5.3.3.2 Dimensions 78 2.5.5.3.3.3 Sound absorbing potential 79 2.5.5.3.4 Influences on the sound through characteristics of the piano 79 2.5.5.3.4.1 Pedal 79 2.5.5.3.4.2 Attack 80 2.5.5.3.4.3 Strings 80