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- Pianist-composer, educator and researcher Philipp Teriete was born in 1986 near Münster, Germany. He has performed na... morePianist-composer, educator and researcher Philipp Teriete was born in 1986 near Münster, Germany. He has performed nationally and internationally as a soloist and in various ensembles. Since September 2020, Philipp has been teaching as a lecturer at the University of Applied Sciences in Lucerne, Switzerland. In April 2022, he was appointed full professor of music theory with a focus on jazz/popular music/arrangement at the University of Music Freiburg, Germany. He is currently pursuing a Ph.D. about the influence of 19th century European music theory on early jazz.
Philipp studied classical piano (BM/MM) with Tibor Szász and music theory (BM/MM) with Ludwig Holtmeier at the University of Music, Freiburg, Germany, and he participated in exchange programs at the Royal Academy of Music London, UK (piano with Hamish Milne) and the Paris National Conservatory, France (›ecriture‹/renaissance counterpoint with Olivier Trachier). In addition, he studied jazz piano and arrangement with Ralf Schmid in Freiburg, and jazz composition with Helge Sunde and Geir Lysne at the Norwegian Academy of Music Oslo, Norway. From 2015-17 Philipp worked and lived in New York City where he completed a Master’s Degree in the Jazz Studies program at New York University (piano, composition with Andy Milne, Gil Goldstein, Alan Broadbent and John Scofield). Philipp Teriete was a scholarship recipient through the Fulbright Commission, NYU and the Cusanuswerk.edit
This article focuses on one of the most influential French virtuosos and pedagogues of the nineteenth century, Pierre-Joseph-Guillaume Zimmerman (1785–1853), and his magnum opus, the Encyclopédie du Pianiste Compositeur (1840). During his... more
This article focuses on one of the most influential French virtuosos and pedagogues of the nineteenth century, Pierre-Joseph-Guillaume Zimmerman (1785–1853), and his magnum opus, the Encyclopédie du Pianiste Compositeur (1840). During his tenure as Professor of Piano at the Paris Conservatory (1816–1848), Zimmerman trained dozens of famous virtuosos and composers (i.e., Alkan, Gounod, Franck, and Bizet). In his Encyclopédie, Zimmerman shares the secrets of his pedagogical success. The treatise exceeds almost every other instrumental method of the time in its structure and completeness, for it not only comprises a piano method, but covers the entire canon of subjects a pianist-composer had to master (i.e., sight-reading, transposition, harmony, thoroughbass, partimento, improvisation, counterpoint, and composition). Zimmerman’s Encyclopédie offers far-reaching insights into a highly developed, “holistic” teaching tradition that had set the standard for Liszt’s and Chopin’s education and can still inspire modern approaches to teaching keyboard skills.
Research Interests:
Ragtime and blues are considered to be direct precursors of jazz. However, at the beginning of the twentieth century, generic distinctions between ragtime, blues, and jazz were less marked than they are today. In fact, the terms were... more
Ragtime and blues are considered to be direct precursors of jazz. However, at the
beginning of the twentieth century, generic distinctions between ragtime, blues, and
jazz were less marked than they are today. In fact, the terms were often used interchangeably. In this paper, I suggest a widening of our historical lens in order to see
how certain European traditions played an important role in shaping these three
iconic US-American styles.
While relatively much is known about the biographies and oeuvres of the creators
of ragtime, blues, and jazz, music-theoretical contexts and educational backgrounds
of composers do not receive the same scholarly focus. Who were these musicians'
teachers? What exactly did they learn? Analyses only rarely address such topics and
often ignore music-theoretical questions. My research into previously unknown textual and musical sources suggests that the creators of ragtime, blues, and jazz were
not only strongly influenced by a certain European repertoire but also by European
(and particularly German) music-theoretical concepts. I demonstrate that the interaction between African-American musicians and German music teachers and traditions such as the »Leipziger Konservatoriumslehre« may have played a significant
role in the shaping of ragtime, blues, and jazz.
beginning of the twentieth century, generic distinctions between ragtime, blues, and
jazz were less marked than they are today. In fact, the terms were often used interchangeably. In this paper, I suggest a widening of our historical lens in order to see
how certain European traditions played an important role in shaping these three
iconic US-American styles.
While relatively much is known about the biographies and oeuvres of the creators
of ragtime, blues, and jazz, music-theoretical contexts and educational backgrounds
of composers do not receive the same scholarly focus. Who were these musicians'
teachers? What exactly did they learn? Analyses only rarely address such topics and
often ignore music-theoretical questions. My research into previously unknown textual and musical sources suggests that the creators of ragtime, blues, and jazz were
not only strongly influenced by a certain European repertoire but also by European
(and particularly German) music-theoretical concepts. I demonstrate that the interaction between African-American musicians and German music teachers and traditions such as the »Leipziger Konservatoriumslehre« may have played a significant
role in the shaping of ragtime, blues, and jazz.
Die ›Lead Sheet‹-Notation gehort zu den bedeutenden musikalischen Notationsformen des 20. und 21. Jahrhunderts. Vollkommen selbstverstandlich wird vorausgesetzt, dass Jazzmusiker*innen ›Standards‹ und neue Kompositionen in dieser... more
Die ›Lead Sheet‹-Notation gehort zu den bedeutenden musikalischen Notationsformen des 20. und 21. Jahrhunderts. Vollkommen selbstverstandlich wird vorausgesetzt, dass Jazzmusiker*innen ›Standards‹ und neue Kompositionen in dieser musikalischen Kurzschrift lesen und daruber improvisieren konnen. Ebenso wird erwartet, dass sie eigene Kompositionen als ›Lead Sheet‹ zu Ensembleproben oder Auftritten mitbringen, um diese aus dem Stegreif zu spielen und daruber zu improvisieren. Wahrend die ›Lead Sheet‹-Notation als selbstverstandlich angesehen wird, ist kaum bekannt, wie sie entstanden ist. Dieser Beitrag soll beleuchten, wie sich die Notationsform historisch entwickelt hat, diskutieren, welche musiktheoretischen Implikationen sie birgt, und aufzeigen, welche Rolle ihr in der kunstlerischen Praxis und der Lehre zukommt.
The lead sheet has been one of the most important forms of musical notation in the twentieth and twenty-first centuries. Jazz musicians are expected to sight-read and to improvise on standards and original compositions written in this musical shorthand. It is also expected that they bring their own compositions in a lead sheet format to ensemble rehearsals and concerts to facilitate performance and improvisation. While lead sheet notation is taken for granted, its evolution remains obscure. This article investigates how this form of notation developed historically, and discusses its music-theoretical implications and the role it plays in artistic and pedagogical practice.
The lead sheet has been one of the most important forms of musical notation in the twentieth and twenty-first centuries. Jazz musicians are expected to sight-read and to improvise on standards and original compositions written in this musical shorthand. It is also expected that they bring their own compositions in a lead sheet format to ensemble rehearsals and concerts to facilitate performance and improvisation. While lead sheet notation is taken for granted, its evolution remains obscure. This article investigates how this form of notation developed historically, and discusses its music-theoretical implications and the role it plays in artistic and pedagogical practice.
Based on an investigation of Chopin's musical education, the education of Parisian »Pianistes Compositeurs« of the 19th century, and a large number of historical sources, this article aims at reconstructing the unwritten parts of Chopin's... more
Based on an investigation of Chopin's musical education, the education of Parisian »Pianistes Compositeurs« of the 19th century, and a large number of historical sources, this article aims at reconstructing the unwritten parts of Chopin's unfinished »Méthode de Piano«. The first part discusses Chopin's musical education in Warsaw (focusing on music theory, improvisation and composition), his pianistic ideals and his teaching methods. The second part is a an educated guess/a reconstruction of what could have become Chopin's »Méthode de Piano« based on important historical facts and treatises.
It was Chopin's last will that his friends Henri Reber and Charles-Valentin Alkan complete his »Méthode de Piano«. Chopin also hoped that his student Thomas Tellefsen would continue the unfinished work. However, Tellefsen did not get much further than Chopin himself and unfortunately Alkan and Reber never worked to continue the »Méthode«. Taking a closer look at treatises like Reber's »Traité d'Harmonie«, the monumental »Encyclopédie du Pianiste Compositeur« by Alkan's teacher Pierre-Joseph-Guillaume Zimmerman, and other sources of the time, it becomes possible to get a clearer insight into what the training of 19th-century piano virtuosos looked like and what Chopin might have intended when he started to write his own »Méthode«.
https://de.schott-music.com/shop/musiktheorie-und-improvisation-no275561.html
It was Chopin's last will that his friends Henri Reber and Charles-Valentin Alkan complete his »Méthode de Piano«. Chopin also hoped that his student Thomas Tellefsen would continue the unfinished work. However, Tellefsen did not get much further than Chopin himself and unfortunately Alkan and Reber never worked to continue the »Méthode«. Taking a closer look at treatises like Reber's »Traité d'Harmonie«, the monumental »Encyclopédie du Pianiste Compositeur« by Alkan's teacher Pierre-Joseph-Guillaume Zimmerman, and other sources of the time, it becomes possible to get a clearer insight into what the training of 19th-century piano virtuosos looked like and what Chopin might have intended when he started to write his own »Méthode«.
https://de.schott-music.com/shop/musiktheorie-und-improvisation-no275561.html
Research Interests:
Research Interests:
Research Interests:
For centuries, the keyboard has stood at the crossroads of performance, composition, and improvisation. For this reason, nearly all educational institutions require music majors to become proficient at the keyboard. Yet too often, these... more
For centuries, the keyboard has stood at the crossroads of performance, composition, and improvisation. For this reason, nearly all educational institutions require music majors to become proficient at the keyboard. Yet too often, these secondary piano lessons either remain restricted to technical basics like scales and arpeggios, or they are modeled after the training of concert pianists, such that the goal is narrowly focused on the error-free performance of literature. The solution, we believe, lies in interdisciplinary dialogue, particularly between piano teachers and music theorists. This is because present-day “applied piano” and music theory curricula could both benefit from increased historical and stylistic contextualization. In this way, secondary piano instruction gains greater relevance through specialization in topics like style-based improvisation, composition, arranging, accompaniment, sight-reading, or ear training. At the same time, the practical interaction with the keyboard brings music-theoretical concepts to life. Drawing inspiration from a diverse array of sources ranging from baroque counterpoint texts to modern jazz piano methods, this essay collection blends scholarship and pedagogy to explore the manifold ways in which the keyboard allows both the hands and the mind to grasp music.
Tasteninstrumente dienen seit Jahrhunderten nicht nur als Konzertinstrumente, sondern auch als Experimentierwerkzeuge beim Komponieren und als pädagogische Demonstrationsmittel. Zum professionellen Musikstudium gehört daher für die allermeisten Musiker auch eine klavierpraktische Ausbildung. Der Klavierunterricht orientiert sich heute jedoch allzu oft allein am Ideal des Konzertpianisten und zielt vor allem auf das (fehlerfreie) Repertoirespiel. Das noch junge Fach »Angewandtes Klavierspiel« verfolgt dagegen einen ganzheitlichen Ansatz. Es ermöglicht Studierenden, sich am Klavier in diversen Disziplinen weiterzubilden: etwa in stilgebundener Improvisation, Komposition und Arrangement, Partitur- und Blattspiel oder Gehörbildung. Das Fach lebt vom interdisziplinären Dialog – insbesondere zwischen der Klavierpädagogik und Musiktheorie – und erzeugt positive Synergien. Der vorliegende Sammelband präsentiert neueste Erkenntnisse aus Lehre und Forschung zum Thema »Angewandtes Klavierspiel«. Inspiriert von einer Vielzahl von Quellen – von barocken Kontrapunkttraktaten bis zu modernen Jazzklavier-Methoden – werden in den Beiträgen Wege erkundet, Musik an Tasteninstrumenten im wahrsten Sinne des Wortes zu begreifen.
Tasteninstrumente dienen seit Jahrhunderten nicht nur als Konzertinstrumente, sondern auch als Experimentierwerkzeuge beim Komponieren und als pädagogische Demonstrationsmittel. Zum professionellen Musikstudium gehört daher für die allermeisten Musiker auch eine klavierpraktische Ausbildung. Der Klavierunterricht orientiert sich heute jedoch allzu oft allein am Ideal des Konzertpianisten und zielt vor allem auf das (fehlerfreie) Repertoirespiel. Das noch junge Fach »Angewandtes Klavierspiel« verfolgt dagegen einen ganzheitlichen Ansatz. Es ermöglicht Studierenden, sich am Klavier in diversen Disziplinen weiterzubilden: etwa in stilgebundener Improvisation, Komposition und Arrangement, Partitur- und Blattspiel oder Gehörbildung. Das Fach lebt vom interdisziplinären Dialog – insbesondere zwischen der Klavierpädagogik und Musiktheorie – und erzeugt positive Synergien. Der vorliegende Sammelband präsentiert neueste Erkenntnisse aus Lehre und Forschung zum Thema »Angewandtes Klavierspiel«. Inspiriert von einer Vielzahl von Quellen – von barocken Kontrapunkttraktaten bis zu modernen Jazzklavier-Methoden – werden in den Beiträgen Wege erkundet, Musik an Tasteninstrumenten im wahrsten Sinne des Wortes zu begreifen.