This paper explores ways in which the experiences and training methods of athletes can inform the training process for musicians. These two groups share the need to perform well under pressure and in front of a critical public. Thus, the ability to remain calm under pressure and execute their highly refined skills in a state of flow is critical for success. The process of training itself is explored to show how one might build trust between mind and body, as well as confidence in one's abilities. This is achieved while also building fitness and developing technical skill.

Marathon training is used as an example to explore this process because the runner's experience is so similar to that of the musician's: both must be disciplined throughout many hours of intense training in solitude and execute a rigorous training plan set months in advance of the most important events. A more detailed discussion of musical practice is given through an exploration of how the Piatti Caprices might be used to develop a formidable performance mindset and technical prowess simultaneously. Examples from other sports are given in this section to show further similarities in the mindsets of athletes and musicians, particularly during performance, but also how sports and music are both received by their respective audiences. Finally, is it discussed that the role of the teacher as a coach is one that not only helps students develop technical skill, but also acts as a in planner, advisor, and motivator.

Clementi's Piano Sonata Op. 50, No. 3

by

Young Ah Ha

Doctor of Musical Arts

University of California, Los Angeles, 2012

Professor Antonio Lysy, Chair

Muzio Clementi was a highly respected keyboard musician and composer who also made a significant contribution to the physical development of the pianoforte. Unfortunately, his musical contributions are overshadowed today by those of his contemporaries Haydn, Mozart, and Beethoven. This paper will re-emphasize Clementi's historical reputation and works, especially his only programmatic instrumental music and one of the late piano sonatas, Didone abbandonata.

Clementi titled his last sonata (Op. 50, No. 3, published 1821) after Metastasio's often-set opera libretto of the same name. Clementi responds to the tragic story of Virgil's heroine as it is presented in this libretto. As a work of instrumental music, this sonata does not have the benefit of any verbal laments, nor did Clementi borrow from the music produced for its various settings by other composers.

Clementi's late three piano sonatas, Op. 50 represent his later style, which has been characterized as "lyrical, confident, stormy, and witty." The Didone abbandonata sonata will be briefly analyzed here, along with the other two sonatas of the same opus number, which include the much more Romantic characteristics typical of nineteenth-century music.

Clementi gave detailed performing directions as to pedaling and certain metronome markings in the Didone abbandonata. Specific performance practice issues posed by this sonata will be examined in depth using variants between the manuscript (the facsimile edition) and other editions. In addition, available recordings of this sonata will be compared to see how performers take these performance practice principles into account in their performances.

The first chapter of the dissertation discusses Clementi's historical reputation and the pianoforte of his day. The second chapter explores the background to Clementi's Didone abbandonata including his other two sonatas from Op. 50 and Clementi's approach Metastasio's libretto. The third chapter examines certain performance practice issues in the Didone abbandonata, including tempo, rhythm, dynamics, articulations, and pedaling. This chapter arose out my desire to perform the Didone abbandonata, and gives my experiences of and solutions to the performance practice issues. The fourth chapter compares the variants between the facsimile and other editions of the Didone abbandonata. This discussion will help guide performers form a better understanding of Clementi's intentions, as well as help them select a reasonable edition for performing the sonata.

Henri Dutilleux (1916-2013) is one of the most significant and widely acclaimed composers of the last century. Dutilleux is best known for his approach towards orchestral timbre and color and his works exhibit an individual style that defies classification. This dissertation will be dedicated to exploring the interpretive issues presented in Henri Dutilleux’s composition for cello and orchestra, Tout un monde lointain... The quotations taken from Baudelaire’s poetry found in this score above each movement leave the performer with many unanswered interpretive questions. Through researching Dutilleux’s use of quotation in other scores, examining the intricacies of Baudelaire’s poetry and considering the existing publications pertaining to his concerto, one will be considerably better equipped to answer the varying questions sense of mystery raised by these quotations. Such analysis will aid one in interpreting and executing his concerto with a heightened understanding of Dutilleux’s musical language within the aesthetics and context he provides through his quotations of Baudelaire.

In this dissertation, I explore the unique musical interests of Victor Herbert’s Cello Concerto No. 2, Op. 30 (1894) with the intent to promote the piece from its ‘fringe’ repertory status. The research presented synthesizes historical information, traditional analysis, and material surveys with a physical exploration from the solo cellist’s point of view to show effective methods for maximizing drama without sacrificing clarity, promoting a singing, vocal quality of the solo cello, and creating a unique duality of tone combining romantic gravitas with the lightheartedness of operetta. In addition, I track the concerto’s reception and repertory status from its premiere in 1894 to 2021 using a survey of existing reviews, articles, public discourse, and recordings. This research aims to encourage more concert programming of the Op. 30, and in the process, makes the argument that canonization and the related false dichotomy between ‘light’ and ‘serious’ music styles have been detrimental forces in the consolidation of the cello concerto repertoire.