ABSTRACT

This book charts the piano's accession from musical curiosity to cultural icon, examining the instrument itself in its various guises as well as the music written for it. Both the piano and piano music were very much the product of the intellectual, cultural and social environments of the period and both were subject to many influences, directly and indirectly. These included character (individualism), the vernacular ('folk/popular') and creativity (improvisation), all of which are discussed generally and with respect to the music itself. Derek Carew surveys the most important pianistic genres of the period (variations, rondos, and so on), showing how these changed from their received forms into vehicles of Romantic expressiveness. The piano is also looked at in its role as an accompanying instrument. The Mechanical Muse will be of interest to anyone who loves the piano or the period, from the non-specialist to the music postgraduate.

part One

Instruments

chapter One|25 pages

History and Background

chapter Two|28 pages

Action and Technique

chapter Three|30 pages

Stringing

chapter Four|17 pages

Sound Modification

chapter Five|13 pages

Versatility

chapter Six

The Piano’s Sound

part Two|325 pages

Influences

chapter Seven|4 pages

Character 1: Background

chapter Eight|7 pages

Character 2: Emotionalism

chapter Nine|23 pages

Character 3: Personification

chapter Ten|17 pages

Character 4: The Past

chapter Eleven|33 pages

Character 5: Other Topics

chapter Twelve|24 pages

Received Forms 1: The Minuet (and Scherzo)

chapter Thirteen|21 pages

Received Forms 2: The Rondo

chapter Fourteen|39 pages

Received Forms 3: The Solo Sonata

chapter Fifteen|33 pages

Received Forms 4: Variations

chapter Seventeen|11 pages

Received Forms 5b: The Concerto 2, The Solo

chapter Eighteen|13 pages

Received Forms 5c: The Concerto 3, Other Movements

chapter Nineteen|18 pages

Vernacular 1: General

chapter Twenty|7 pages

Vernacular 2: Inclusion

chapter Twenty-One|31 pages

Vernacular 3: Regional Styles

chapter Twenty-Two|11 pages

Improvisation 1: General

chapter Twenty-Three|14 pages

Improvisation 2: Types

part Three|100 pages

Integration

chapter Twenty-Four|15 pages

Accompaniment 1a: Chamber Music 1, Classical

chapter Twenty-Five|15 pages

Accompaniment 1b: Chamber Music 2, Romantic

chapter Twenty-Six|28 pages

Accompaniment 2a: Song 1

chapter Twenty-Seven|6 pages

Accompaniment 2b: Song 2

chapter Twenty-Eight|8 pages

Accompaniment 3: Piano Duet and Duo

chapter Twenty-Nine|10 pages

Didacticism and Dissemination

chapter Thirty|16 pages

The Dance