Doctor of Musical Arts (DMA)
This study examines Dragos Tanasescu's fingering system and technical exercises presented in Treatise of Pianistic Technique. The Treatise contains four books, each one dedicated to a segment of technical problems. Tanasescu's main contribution to the piano technique is the applications of math permutation formulas to create all possible arrangements of fingering patterns. His treatise continues previous technical approaches of A. Kullak, F. Liszt, J. Pischna and E. Dohnanyi. Earlier methods organize the technical material by one principle: fingerings. The purpose of this study is to illustrate the characteristics of Tanasescu's fingering system presented in Treatise of Pianistic Technique, and provide insights from a historical and technical perspective. The first chapter provides a succint description of previous fingering systems of C.P.E. Bach, C. Czerny, A. Kullak, F. Liszt, E. Dohnanyi, and a brief presentation of the Treatise of Pianistic Technique's four Books. Chapter Two contains an analysis of Tanasescu's main technical terms and principles. Chapter Three provides an analysis of all polyphonic exercises with two voices contained in Book III of Tanasescu's Treatise. Each exercise is compared with previous examples by Liszt, Pischna, and Dohnanyi. Chapter Four presents Tanasescu's new transposition method and its benefits. The last chapter provides a comparison between Tanasescu's polyphonic patterns and examples from the Classic and Romantic piano repertoire. This study has been directed by Jennifer Hayghe, Associate Professor at Louisiana State University.
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Zidaru, Lucian B., "Dragos Tanasescu's Treaties of Pianistic Technique" (2005). LSU Doctoral Dissertations. 2620.