Thesis submission ID 852 | created
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Geraldine Cotter, Piano Practice
Supervisor(s): Dr. John Morgan O'Connell
Repository (hard copy): University of Limerick Library
General specialism: Ethnomusicology
Abstract:
This thesis concerns the use of the piano in the transmission of musical knowledge. In particular, it concerns the use of the piano by Dr Charlie Lennon, as an accompanist and composer. As a pianist in the same genre, I have particular interest in the ways in which he applies musical ideas in the accompaniment of dance tunes. For the past few decades, he has been recognised as one of the best-known names in the piano accompaniment of Irish traditional music.
In Chapter One, drawing upon Bourdieu's concept of habitus, I examine his encoded and inherited performance practices. I consider the manner in which music has structured his life, examining his performance practices and contexts; the meaning of the piano in his life; and the materials of this practice.
In Chapter Two, I look at elements of his style as manifested in his playing of his own composition, Kilty Town: this tune is a locus for my musical analysis of his performance style in piano accompaniment. Focussing on issues of performance practice from the perspective of texture and rhythm, I examine the following: rhythm; harmony; polyphonic movement, including contrary motion between treble and bass lines, and the relationship between these lines and the main melody line.
In Chapter Three, I am particularly interested that his concepts of texture are due to an understanding of his system of inherited practice i.e. his habitus. In this regard, I examine Kilty Town from a historical perspective, exploring the structures and practices that led to the development of his style of performing the piano within the tradition. Issues that are pertinent here include: where he learned; performed; and how these practices have engaged with his life history.
Geraldine Cotter, Piano Practice
MA, University of Limerick, 2005
Supervisor(s): Dr. John Morgan O'Connell
Repository (hard copy): University of Limerick Library
General specialism: Ethnomusicology
Abstract:
This thesis concerns the use of the piano in the transmission of musical knowledge. In particular, it concerns the use of the piano by Dr Charlie Lennon, as an accompanist and composer. As a pianist in the same genre, I have particular interest in the ways in which he applies musical ideas in the accompaniment of dance tunes. For the past few decades, he has been recognised as one of the best-known names in the piano accompaniment of Irish traditional music.
In Chapter One, drawing upon Bourdieu's concept of habitus, I examine his encoded and inherited performance practices. I consider the manner in which music has structured his life, examining his performance practices and contexts; the meaning of the piano in his life; and the materials of this practice.
In Chapter Two, I look at elements of his style as manifested in his playing of his own composition, Kilty Town: this tune is a locus for my musical analysis of his performance style in piano accompaniment. Focussing on issues of performance practice from the perspective of texture and rhythm, I examine the following: rhythm; harmony; polyphonic movement, including contrary motion between treble and bass lines, and the relationship between these lines and the main melody line.
In Chapter Three, I am particularly interested that his concepts of texture are due to an understanding of his system of inherited practice i.e. his habitus. In this regard, I examine Kilty Town from a historical perspective, exploring the structures and practices that led to the development of his style of performing the piano within the tradition. Issues that are pertinent here include: where he learned; performed; and how these practices have engaged with his life history.
Thesis submission ID 852