Dynamics - Versionsgeschichte

Heinrich: /* Technical Know-How */

2021-04-26T13:20:07Z

Technical Know-How

← Nächstältere Version		Version vom 26. April 2021, 15:20 Uhr
Zeile 32:		Zeile 32:
	[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).		[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).
	<br><br>		<br><br>
	In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview with Joe Allard] (on Gaston Hamelin), McKim, Debra Jean (2000)<ref>McKim, Debra Jean (2000): Joseph Allard: His Contributions to Saxophone Pedagogy and Performance. Published Doctor of Arts Dissertation, University of Colorado.[http://www.joeallard.org/pedagogy.html Joe Allard], Embouchure, 92 {04.26.2001}</ref> and [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].		In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview with Joe Allard] (on Gaston Hamelin), McKim, Debra Jean (2000)<ref>McKim, Debra Jean (2000): Joseph Allard: His Contributions to Saxophone Pedagogy and Performance. Published Doctor of Arts Dissertation, University of Colorado [http://www.joeallard.org/pedagogy.html Joe Allard], Embouchure, 92 {04.26.2001}</ref> and [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].

	====Technical Notes from the Interviews====		====Technical Notes from the Interviews====

Heinrich: /* Technical Know-How */

2021-04-26T13:15:08Z

Technical Know-How

← Nächstältere Version		Version vom 26. April 2021, 15:15 Uhr
Zeile 32:		Zeile 32:
	[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).		[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).
	<br><br>		<br><br>
	In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview with Joe Allard] (on Gaston Hamelin) ~~and~~ McKim, Debra Jean (2000)<ref>McKim, Debra Jean (2000): Joseph Allard: His Contributions to Saxophone Pedagogy and Performance. Published Doctor of Arts Dissertation, University of Colorado.[http://www.joeallard.org/pedagogy.html Joe Allard], Embouchure, 92 {04.26.2001}</ref> [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].		In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview with Joe Allard] (on Gaston Hamelin), McKim, Debra Jean (2000)<ref>McKim, Debra Jean (2000): Joseph Allard: His Contributions to Saxophone Pedagogy and Performance. Published Doctor of Arts Dissertation, University of Colorado.[http://www.joeallard.org/pedagogy.html Joe Allard], Embouchure, 92 {04.26.2001}</ref> and [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].

	====Technical Notes from the Interviews====		====Technical Notes from the Interviews====

Heinrich: /* Technical Know-How */

2021-04-26T13:13:54Z

Technical Know-How

← Nächstältere Version		Version vom 26. April 2021, 15:13 Uhr
Zeile 32:		Zeile 32:
	[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).		[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).
	<br><br>		<br><br>
	In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview with Joe Allard] (on Gaston Hamelin)~~und~~ [http://www.joeallard.org/pedagogy.html Joe Allard] > Embouchure, 92, [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].		In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview with Joe Allard] (on Gaston Hamelin) and McKim, Debra Jean (2000)<ref>McKim, Debra Jean (2000): Joseph Allard: His Contributions to Saxophone Pedagogy and Performance. Published Doctor of Arts Dissertation, University of Colorado.[http://www.joeallard.org/pedagogy.html Joe Allard], Embouchure, 92 {04.26.2001}</ref> [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].

	====Technical Notes from the Interviews====		====Technical Notes from the Interviews====

Heinrich: /* Technical Know-How */

2021-04-26T13:07:12Z

Technical Know-How

← Nächstältere Version		Version vom 26. April 2021, 15:07 Uhr
Zeile 32:		Zeile 32:
	[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).		[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).
	<br><br>		<br><br>
	In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview ~~mit~~ Joe Allard (~~über~~ Gaston Hamelin)] und [http://www.joeallard.org/pedagogy.html Joe Allard > Embouchure, 92], [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].		In order for the sound to unfold dynamically and freely, the reed must be able to vibrate freely not only at the front, but also on the sides. It is therefore important to ensure that the lower lip, rather than curving to follow the shape of the reed, only forms a table on which the reed can vibrate (lessons with Hans Rudolf Stalder around 1980, not published). To prevent air from escaping, the base must be sealed laterally with the upper lip only. See also [[Embouchure#Flexible Embouchure Line\|Flexible Embouchure Line]], [https://youtu.be/K-0N7XETP5M?t=119 Interview with Joe Allard] (on Gaston Hamelin)und [http://www.joeallard.org/pedagogy.html Joe Allard] > Embouchure, 92, [[John Moses#Use the upper lip to seal up the mouthpiece\|John Moses]].

	====Technical Notes from the Interviews====		====Technical Notes from the Interviews====

Heinrich: /* Technical Know-How */

2021-04-26T13:05:28Z

Technical Know-How

← Nächstältere Version		Version vom 26. April 2021, 15:05 Uhr
Zeile 29:		Zeile 29:

	==Technical Know-How==		==Technical Know-How==
	[[Datei: Gaston_Hamelin.jpeg\|mini\|~~x245px~~\|links\|Gaston Hamelin]]		[[Datei: Gaston_Hamelin.jpeg\|mini\|x215px\|links\|Gaston Hamelin]]
	[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).		[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).
	<br><br>		<br><br>

Heinrich: /* Technical Know-How */

2021-04-26T13:05:12Z

Technical Know-How

← Nächstältere Version		Version vom 26. April 2021, 15:05 Uhr
Zeile 29:		Zeile 29:

	==Technical Know-How==		==Technical Know-How==
	[[Datei: Gaston_Hamelin.jpeg\|mini\|~~x230px~~\|links\|Gaston Hamelin]]		[[Datei: Gaston_Hamelin.jpeg\|mini\|x245px\|links\|Gaston Hamelin]]
	[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).		[[Harri Mäki#Learn to over-blow without the register key\|Harri Mäki]] and [https://youtu.be/K-0N7XETP5M?t=636 Joe Allard] use the technique of the flexible embouchure line, which leads back to [https://www.selmer.fr/en/artist/gaston-hamelin Gaston Hamelin]. A lower embouchure line allows for greater forte; to play piano, the embouchure line is higher while maintaining the same jaw position. This technique evens out the differences in intonation between forte (often too low) and piano (often too high).
	<br><br>		<br><br>

Heinrich: /* Technical Notes from the Interviews */

2021-04-26T13:04:50Z

Technical Notes from the Interviews

← Nächstältere Version		Version vom 26. April 2021, 15:04 Uhr
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	<br>		<br>
	[[Ernst Schlader#Flexibilität\|Ernst Schlader]] avoids speaking of tension, including in connection with dynamics. He finds the word flexibility to be more appropriate. The pharynx, airflow, and embouchure formation must be used differently at different dynamic levels. Often, embouchure pressure is erroneously increased in the piano, however, dynamic shaping is primarily achieved by modifying air conduction: [[Ernesto Molinari#Genegenüberstellen von forte und piano\|Ernesto Molinari]], [[Heinrich Mätzener#Anartomische Zusammenhänge\|Heinrich Mätzener]], [[Thomas Piercy#stability versus flexibility and risk \|Thomas Piercy]].		[[Ernst Schlader#Flexibilität\|Ernst Schlader]] avoids speaking of tension, including in connection with dynamics. He finds the word flexibility to be more appropriate. The pharynx, airflow, and embouchure formation must be used differently at different dynamic levels. Often, embouchure pressure is erroneously increased in the piano, however, dynamic shaping is primarily achieved by modifying air conduction: [[Ernesto Molinari#Genegenüberstellen von forte und piano\|Ernesto Molinari]], [[Heinrich Mätzener#Anartomische Zusammenhänge\|Heinrich Mätzener]], [[Thomas Piercy#stability versus flexibility and risk \|Thomas Piercy]].
			<br><br>
	'''Dynamics in Metric Progression'''		'''Dynamics in Metric Progression'''
			<br>
	[[Paolo Beltramini#Didaktischer Kanon\|Paolo Beltramini]], [[James Campbell#Phrasing\|James Campbell]] always practice dynamics in connection with metric structure. To bring attention to the dynamic process, James Campbell transforms etudes into tone exercises: dynamics and articulation are enacted on the initial tone of the phrase. He sings the melody in his head, and the sustained tone follows this "inner line" of the music.		[[Paolo Beltramini#Didaktischer Kanon\|Paolo Beltramini]], [[James Campbell#Phrasing\|James Campbell]] always practice dynamics in connection with metric structure. To bring attention to the dynamic process, James Campbell transforms etudes into tone exercises: dynamics and articulation are enacted on the initial tone of the phrase. He sings the melody in his head, and the sustained tone follows this "inner line" of the music.
	<br>		<br>
	[[Seunghee Lee# More flexibility?\|Seunghee Lee]] observes a greater (dynamic) flexibility of the sound when playing with double lip.		[[Seunghee Lee# More flexibility?\|Seunghee Lee]] observes a greater (dynamic) flexibility of the sound when playing with double lip.

			[[Kategorie:Fundamentals, English]]

	==Musical Comments from the Interviews==		==Musical Comments from the Interviews==
	'''Dynamics and Timbre'''		'''Dynamics and Timbre'''

Heinrich: /* Dynamics as an Important Means of Creativy */

2021-04-26T13:03:30Z

Dynamics as an Important Means of Creativy

← Nächstältere Version		Version vom 26. April 2021, 15:03 Uhr
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	</div>		</div>
	==Dynamics as an Important Means of Creativy==		==Dynamics as an Important Means of Creativy==
	[https://en.wikipedia.org/wiki/Dynamics_(music) Dynamics] refers to the use of different volumes in musical performance. Dynamics serve as a basis for the elaboration of [https://en.wikipedia.org/wiki/Musical_phrasing phrasing], [[Articulation\|articulation]], and [https://en.wikipedia.org/wiki/Accent_(music) rhythmic accentuation]. The execution of dynamic progressions is based on a subjective reading of different dynamic and musical terms. Musical notation cannot accurately convey many dynamic differences, so the dynamic level of individual notes, tone groups, and phrases becomes an important interpretive task. Dynamics as expression was mentioned as early as [[Jean-Xavier Lefèvre#Article X Von der Art, das Spiel zu nuancieren ("De la manière de nuancer les sons")\|Jean-Xavier Lefèvre's]] Méthode (1802)<ref name= "Jean-Xavier Lefèvre"> Jean-Xavier Lefèvre: ''Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement''. Naderman, Paris 1802. [https://~~reader~~.digitale-sammlungen.de/de/~~fs1~~/~~object/display/bsb10497389_00007.html~~]</ref>.		[https://en.wikipedia.org/wiki/Dynamics_(music) Dynamics] refers to the use of different volumes in musical performance. Dynamics serve as a basis for the elaboration of [https://en.wikipedia.org/wiki/Musical_phrasing phrasing], [[Articulation\|articulation]], and [https://en.wikipedia.org/wiki/Accent_(music) rhythmic accentuation]. The execution of dynamic progressions is based on a subjective reading of different dynamic and musical terms. Musical notation cannot accurately convey many dynamic differences, so the dynamic level of individual notes, tone groups, and phrases becomes an important interpretive task. Dynamics as expression was mentioned as early as [[Jean-Xavier Lefèvre#Article X Von der Art, das Spiel zu nuancieren ("De la manière de nuancer les sons")\|Jean-Xavier Lefèvre's]] Méthode (1802)<ref name= "Jean-Xavier Lefèvre"> Jean-Xavier Lefèvre: ''Méthode de clarinette adoptée par le conservatoire pour servir à l’étude dans cet établissement''. Naderman, Paris 1802. [https://www.digitale-sammlungen.de/de/view/bsb10497389?page=32 Méthode]</ref>.
	<br>		<br>
	[[Steve Hartman#The idea of shape, of saying, of phrasing\|Steve Hartman]], [[Michel Arrignon#La qualité sonore\|Michel Arrignon]], [[François Benda#Europa\|François Benda]], [[James Campbell#Phrasing\|James Campbell]], [[Pascal Moraguès#canon didacitque\|Pascal Moraguès]] point out that even without dynamic indications in the musical text, individual notes and passages are played not rigidly, but rather with a flexible dynamic level. James Campbell goes further to say that since today the clarinet is usually played without vibrato, dynamics play a greater role in shaping phrases.		[[Steve Hartman#The idea of shape, of saying, of phrasing\|Steve Hartman]], [[Michel Arrignon#La qualité sonore\|Michel Arrignon]], [[François Benda#Europa\|François Benda]], [[James Campbell#Phrasing\|James Campbell]], [[Pascal Moraguès#canon didacitque\|Pascal Moraguès]] point out that even without dynamic indications in the musical text, individual notes and passages are played not rigidly, but rather with a flexible dynamic level. James Campbell goes further to say that since today the clarinet is usually played without vibrato, dynamics play a greater role in shaping phrases.
	[[François Benda#Europa\|François Benda]] points out the importance of a lively dynamic in auditions. In that context, because the guidelines of stylistic freedom are very narrowly defined a great deal of variability must be shown in the dynamic range.		[[François Benda#Europa\|François Benda]] points out the importance of a lively dynamic in auditions. In that context, because the guidelines of stylistic freedom are very narrowly defined a great deal of variability must be shown in the dynamic range.

			[[Kategorie:Fundamentals, English]]

	==Technical Know-How==		==Technical Know-How==

Heinrich am 26. April 2021 um 12:57 Uhr

2021-04-26T12:57:15Z

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	~~<references>~~
	'''Contributions by Interviewees'''		'''Contributions by Interviewees'''
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	For [[Richard Stoltzman#Extend your own standarts of aesthetics\|Richard Stoltzman]], a piano must have the same intensity and concentration as a forte. He was influenced by his encounter with Olivier Messiaen, who in "abîme des oiseaux" from the Quatuor pour la fin du temps demanded a special color in pianissimo: Messiaen demanded a "black sound" [noir], not the cultivated pianissimo performers typically strive for, but a noisy almost pressed, dirty sound.		For [[Richard Stoltzman#Extend your own standarts of aesthetics\|Richard Stoltzman]], a piano must have the same intensity and concentration as a forte. He was influenced by his encounter with Olivier Messiaen, who in "abîme des oiseaux" from the Quatuor pour la fin du temps demanded a special color in pianissimo: Messiaen demanded a "black sound" [noir], not the cultivated pianissimo performers typically strive for, but a noisy almost pressed, dirty sound.

	~~[[Kategorie:Fundamentals, English]]~~

	==References==		==References==

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]

Heinrich: /* Musical Comments from the Interviews */

2021-04-26T12:56:19Z

Musical Comments from the Interviews

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	<br><br>		<br><br>
	'''Piano as Tone Color'''		'''Piano as Tone Color'''
			<br>
	[[Alain Damiens#Dynamique - Le pianississimo énorme de György Kurtág\|Alain Damiens]] brings a psychological aspect into play: a pianississimo can have the power of a fortississimo, not in decibels, but in inner tension. What is required is a boundless imagination and the will to explore the acoustic boundaries of the instrument and of space. Access to this world is provided by the aural scanning of the sound for its overtones at every dynamic level, which Alain calls “traveling into the sounds with the ear” ["voyager avec l'oreille dans les sons"]. [[Alain Damiens#Lachenmann : des bruits dans le ''ppp'' pour affiner l’oreille\|Alain Damiens]] sensitizes the ear and thus the ability to play to the limits of the audible by exploring the noise-like compositions of Helmuth Lachenmann.		[[Alain Damiens#Dynamique - Le pianississimo énorme de György Kurtág\|Alain Damiens]] brings a psychological aspect into play: a pianississimo can have the power of a fortississimo, not in decibels, but in inner tension. What is required is a boundless imagination and the will to explore the acoustic boundaries of the instrument and of space. Access to this world is provided by the aural scanning of the sound for its overtones at every dynamic level, which Alain calls “traveling into the sounds with the ear” ["voyager avec l'oreille dans les sons"]. [[Alain Damiens#Lachenmann : des bruits dans le ''ppp'' pour affiner l’oreille\|Alain Damiens]] sensitizes the ear and thus the ability to play to the limits of the audible by exploring the noise-like compositions of Helmuth Lachenmann.
	<br>		<br>
	For [[Richard Stoltzman#Extend your own standarts of aesthetics\|Richard Stoltzman]], a piano must have the same intensity and concentration as a forte. He was influenced by his encounter with Olivier Messiaen, who in "abîme des oiseaux" from the Quatuor pour la fin du temps demanded a special color in pianissimo: Messiaen demanded a "black sound" [noir], not the cultivated pianissimo performers typically strive for, but a noisy almost pressed, dirty sound.		For [[Richard Stoltzman#Extend your own standarts of aesthetics\|Richard Stoltzman]], a piano must have the same intensity and concentration as a forte. He was influenced by his encounter with Olivier Messiaen, who in "abîme des oiseaux" from the Quatuor pour la fin du temps demanded a special color in pianissimo: Messiaen demanded a "black sound" [noir], not the cultivated pianissimo performers typically strive for, but a noisy almost pressed, dirty sound.

			[[Kategorie:Fundamentals, English]]

	==References==		==References==

	[[Kategorie:Fundamentals, English]]		[[Kategorie:Fundamentals, English]]