Dissertationen: „Kapusta“

1

Kapustka, Mateusz [Verfasser]. „Die Abwesenheit der Idole : Bildkonflikte und Anachronismen in der Frühen Neuzeit / Mateusz Kapustka“. Göttingen : Böhlau Verlag Köln, 2020. http://www.v-r.de/.

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2

Mann, Jonathan Edward. „Red, white, and blue notes: the symbiotic music of Nikolai Kapustin /“. Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1179852881.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: James V Tocco Title from electronic thesis title page (viewed Nov. 17, 2007). Includes abstract. Keywords: Nikolai Kapustin Classical Jazz Piano Includes bibliographical references.

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Kapulla, H. [Verfasser]. „Untersuchung der Molekuelrotation im festen Methan durch inelastische Neutronenstreuung / H. Kapulla“. Karlsruhe : KIT-Bibliothek, 2009. http://d-nb.info/1186904992/34.

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4

MANN, JONATHAN EDWARD. „RED, WHITE, AND BLUE NOTES: THE SYMBIOTIC MUSIC OF NIKOLAI KAPUSTIN“. University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179852881.

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5

Creighton, Randall. „A Man of Two Worlds: Classical and Jazz Influences in Nikolai Kapustin's Twenty-Four Preludes, Op. 53“. Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195571.

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Nikolai Kapustin was born in 1937 and has been active as a composer since the late 1950s, though he has only become relatively well known in the West since around 2000. Despite the fact that he has spent his whole life in Russia, Kapustin was strongly influenced by American jazz and his compositional style has always been a combination of the formal elements of classical music and the stylistic elements of jazz. Critics have all commented on Kapustin's astute blend of classical form and jazz style, mentioning the influence of Russian composers Rachmaninov and Scriabin, while also noting echoes of Art Tatum, Oscar Peterson, and Chick Corea. The Twenty-Four Preludes, Op. 53 were published in 1988 and follow the key sequence set forth by the Chopin Preludes, Op. 28. These preludes are as virtuosic and ambitious as those of Chopin, Scriabin, and Rachmaninov.A close examination of the score of the Twenty-Four Preludes, Op. 53 reveals that Kapustin uses several methods of thematic organization, including variations of scoring, thematic transformation, and spinning out the germ of an idea in a more improvisatory way and that these techniques can be traced directly to the music of Rachmaninov, Scriabin, Liszt, and Beethoven. There are examples of ternary, rondo, and monothematic forms, and the ternary Preludes in particular contain elements similar to sonata-allegro form. Kapustin's musical language is infused with the harmonic and rhythmic elements of jazz, with ample use of added note chords in sophisticated voicings. The echoes of various jazz artists are represented by his skilled use of pianistic techniques like stride and walking bass along with a broad range of harmonic and rhythmic devices that span the stylistic range from Swing and Novelty piano, to Bebop and contemporary Jazz-rock. Though he is clearly familiar with standard jazz harmonic devices, he uses them sparingly, preferring instead to use modulation and developmental models that are grounded in classical music practice. From modern jazz, he takes quartal, pentatonic, and diminished harmony, along with highly chromatic two-voiced textures similar to those used by jazz artists from the 1960s onward, particularly Miles Davis.

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Abramova, Tatiana A. „The Synthesis of Jazz and Classical styles in Three Piano Works of Nikolai Kapustin“. Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/282327.

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Music Performance
D.M.A.
The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school. During his student years (1956 -1961) Kapustin gained popularity as an actively performing jazz pianist. After graduating from the Moscow conservatory, Kapustin joined the famous Oleg Lundstrem Jazz orchestra, which by that time was considered a leading jazz ensemble of Soviet Russia. In the beginning of the 1980's Kapustin focused entirely on composition, when his original style had flourished. The jazz language of Kapustin is a kaleidoscope of styles of the greatest twentieth century jazz composers. Almost every article describing his jazz style mentions the influences of great jazz musicians: Art Tatum, Oscar Peterson, Erroll Garner, and George Gershwin. In my study I am going to take a closer look at how strong those influences are, as well as how Kapustin internalized many different jazz styles and created his own style. Kapustin's style bears qualities that belong to the Soviet jazz of 1950s and 1960s. In the second chapter detailed information will be presented about jazz tradition in Russia. This monograph concentrates on Variations, Op.41 and two Concert Etudes (# 3 and # 4) from Eight Concert Etudes, Op 40, composed in 1984. The Variations, Op.41 demonstrate the richness of Kapustin's style and his dazzling talent. These variations are based on a short Russian-Lithuanian folk theme or motive. The same motive is found in the opening of Stravinsky's "Rite of Spring." Kapustin has transformed an original meditative theme into swing.The analysis of Variation, Op.41 will be followed by the analysis of two etudes (No. 3 & 4) from Eight Concert Etudes, Op.40. The Eight Concert Etudes Op.40 are not only pieces of remarkable technical difficulty, but also pieces of unique beauty and invention with romantic flair. The influence of Russian composers can be seen, including that of Rachmaninoff, Scriabin and Prokofiev. My research on these works will provide a thorough representation of Kapustin as a composer and a pianist; the overview of Nikolai Kapustin's piano works; his contribution to the piano repertoire, and composer's unique place in music history. The monograph will also include comparison of two recordings by Nikolai Kapustin and Marc-Andre Hamelin along with pedagogical recommendations.
Temple University--Theses

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Seong, Sekyeong. „Bagatelles No. 6 and No. 8, Op. 59 by Nikolai Kapustin:Background, Analysis, and Performance Guideline“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429867811.

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8

Tyulkova, Yana. „Classical and Jazz Influences in the Music of Nikolai Kapustin| Piano Sonata No. 3, Op. 55“. Thesis, West Virginia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702047.

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The subject of this dissertation is the contemporary Russian composer and pianist Nikolai Kapustin. Being himself a virtuoso pianist, Kapustin has written a large repertoire for solo piano. During the last fifteen years, the popularity of Kapustin in the United States has grown enormously through performances, publications, presentations, and recordings. Kapustin's output has over 150 opus numbers in all major forms of Baroque, Classical and Romantic music, such as suite, invention, preludes and fugues, variations, sonata, concerto, and more.

Kapustin's style fuses the classical approach to form and the jazz approach to harmony and rhythm in a very unique way. His compositional style is strongly influenced by American jazz, particularly the style of Oscar Peterson, Art Tatum, Herbie Hancock, and Bill Evans. From the other side, his music is strongly influenced by composers of Classical music such as Alexander Scriabin, Sergei Rachmaninov, Frederick Chopin, Maurice Ravel, and Bela Bartok.

Kapustin composed twenty Piano Sonatas during the period of 1984-2011. There has been little research to this point regarding the music of Kapustin and no formal research has been completed concerning Piano Sonata No. 3. This sonata is the particular scope of this dissertation, as nearly every aspect of Kapustin's compositional style can be found in this work.

Sonata No. 3 was composed in 1990 and was published in August 2014. The Sonata is a one-movement work and it contains a quote of the "Dies Irae" theme, which sets this work apart from his other sonatas.

This dissertation will provide biographical information on Nikolai Kapustin, historical and musical background, and will include an analysis of Piano Sonata No. 3.

Fortunately, the author speaks the Russian language and had opportunities to meet with Nikolai Kapustin. The information obtained in personal interviews with the composer will also be presented.

Hopefully, this dissertation will promote further research, performance, and understanding of the music of one of the most outstanding modern day composers, Nikolai Grigorievich Kapustin.

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Kapust, Johannes Verfasser], und Werner [Akademischer Betreuer] [Lang. „Mikrozirkulation der Haut in pAVK-Patienten im Stadium IV nach Revaskularisation - eine Angiosomkonzept basierte Auswertung mittels O2C / Johannes Kapust. Gutachter: Werner Lang“. Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2016. http://d-nb.info/1096755092/34.

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Kapust, Johannes [Verfasser], und Werner [Akademischer Betreuer] Lang. „Mikrozirkulation der Haut in pAVK-Patienten im Stadium IV nach Revaskularisation - eine Angiosomkonzept basierte Auswertung mittels O2C / Johannes Kapust. Gutachter: Werner Lang“. Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2016. http://d-nb.info/1096755092/34.

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11

Kim, Minhee. „Jazz Language in Through-Composed Chamber Works for Flute by Claude Bolling, Nikolai Kapustin, and Mike Mower“. University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1525171546070754.

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12

Hu, Yingzhou. „Variations Op. 41 and Etudes Op. 67 by Nikolai Kapustin: Historical Background, Stylistic Influences, and Performance Approaches“. The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1610037557641902.

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13

Jentzsch, Sina [Verfasser], Michael [Akademischer Betreuer] Lüthy, Michael [Gutachter] Lüthy, Hantelmann Dorothea [Gutachter] von und Mateusz [Gutachter] Kapustka. „Appell der Dinge. Künstlerische Zuwendung zu den Dingen in den 1960er-Jahren / Sina Jentzsch ; Gutachter: Michael Lüthy, Dorothea von Hantelmann, Mateusz Kapustka ; Betreuer: Michael Lüthy“. Weimar : Bauhaus-Universität Weimar, 2020. http://d-nb.info/1207761206/34.

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Jentzsch, Sina [Verfasser], Michael [Akademischer Betreuer] Lüthy, Michael Gutachter] Lüthy, Hantelmann Dorothea [Gutachter] von und Mateusz [Gutachter] [Kapustka. „Appell der Dinge. Künstlerische Zuwendung zu den Dingen in den 1960er-Jahren / Sina Jentzsch ; Gutachter: Michael Lüthy, Dorothea von Hantelmann, Mateusz Kapustka ; Betreuer: Michael Lüthy“. Weimar : Bauhaus-Universität Weimar, 2020. http://nbn-resolving.de/urn:nbn:de:gbv:wim2-20200323-41129.

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Böhnisch, Genia [Verfasser], Uwe [Akademischer Betreuer] Junghanns, Gerhild [Gutachter] Zybatow und Anke [Gutachter] Holler. „Interaktion und Interpretation in russischsprachigen Threads / Genia Böhnisch (geb. Kapustina) ; Gutachter: Gerhild Zybatow, Anke Holler ; Betreuer: Uwe Junghanns“. Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2018. http://d-nb.info/1168903084/34.

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Heine, Martin. „VERSUS THE VOX POPULI Reflections on the practice of art as a quest for liberation“. University of Sydney. Sydney College of the Fine Arts, 2004. http://hdl.handle.net/2123/640.

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This dissertation is an attempt to define the constellation of circumstances and ideas, which has determined my strategy in the paintings and performances submitted for examination. Unlike many artists I do not accept the fact of postmodernity. On the contrary, art and life remain suspended between the future and the past, the essential modernist condition. I argue for this in the introduction and the first two chapters, through a description of the performance work of Joseph Beuys and on my reaction to it in a performance in which I attempted to examine the practical paradoxes of art making in late modernity. I take my position largely from the Frankfurt school and succeeding debates about their work up to Zizek. For, while we remain in modernity we cannot regard it simply as an unfinished project. It is no longer possible to adopt an avant-garde position in one�s practice. The central section of the thesis contains a series of studies of the careers of major artists who have faced up to the paradoxes of modernity from Picasso to Richter and Parr. Through their successes, failures and sometimes duplicity, a practical profile emerges � a guide to the limits of contemporary practice. The last chapter concerns my paintings as a response to this profile.

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Kapusi, Eszter [Verfasser], Klaus [Akademischer Betreuer] Humbeck, Reinhard [Akademischer Betreuer] Hehl und Helmut [Akademischer Betreuer] Bäumlein. „Elimination of selectable markers genes via segregation of uncoupled T-DNAs in populations of doubled haploid barley / Eszter Kapusi. Betreuer: Klaus Humbeck ; Reinhard Hehl ; Helmut Bäumlein“. Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2010. http://d-nb.info/1025055519/34.

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Felicetti, Riccardo. „Infrastrutture per Monitoraggio e Controllo di Dispositivi Industrial IoT basate su Soluzioni Eclipse Foundation“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.

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L'obiettivo di questo studio è quello di realizzare un'infrastruttura per ambienti industriali che permetta di monitorare e controllare dispositivi appartenenti al mondo dell'Internet of Things, basata su due tecnologie offerte dall'Eclipse Foundation. L'elaborato offre in primo luogo una panoramica sul mondo dell'IIoT e un'analisi approfondita delle piattaforme Eclipse Kura, utilizzata per la realizzazione di un gateway IoT ed Eclipse Kapua utilizzata per la realizzazione di una piattaforma Cloud. Successivamente il focus si sposta sull'implementazione dell'infrastruttura, mostrando nel dettaglio la sua installazione, la sua configurazione e lo sviluppo di componenti aggiuntivi. Lo studio si conclude infine, con l'esecuzione di una serie di test e una valutazione del risultato ottenuto.

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Jonášová, Jiřina. „Uplatnění dusíku a síry ve výživě kapusty hlávkové“. Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-93049.

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Vytisková, Marie. „Zhodnocení jakosti sadby košťálové zeleniny a její vztah k parametrům finální produkce“. Doctoral thesis, 2005. http://www.nusl.cz/ntk/nusl-93428.

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21

He, Siqi. „The Kapustin-Witten Equations with Singular Boundary Conditions“. Thesis, 2018. https://thesis.library.caltech.edu/10867/1/ThesisSiqi.pdf.

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Witten proposed a fasinating program interpreting the Jones polynomial of knots on a 3-manifold by counting solutions to the Kapustin-Witten equations with singular boundary conditions.

In Chapter 1, we establish a gluing construction for the Nahm pole solutions to the Kapustin-Witten equations over manifolds with boundaries and cylindrical ends. Given two Nahm pole solutions with some convergence assumptions on the cylindrical ends, we prove that there exists an obstruction class for gluing the two solutions together along the cylindrical end. In addition, we establish a local Kuranishi model for this gluing picture. As an application, we show that over any compact four-manifold with S³ or T³ boundary, there exists a Nahm pole solution to the obstruction perturbed Kapustin-Witten equations. This is also the case for a four-manifold with hyperbolic boundary under some topological assumptions.

In Chapter 2, we find a system of non-linear ODEs that gives rotationally invariant solutions to the Kapustin-Witten equations in 4-dimensional Euclidean space. We explicitly solve these ODEs in some special cases and find decaying rational solutions, which provide solutions to the Kapustin-Witten equations. The imaginary parts of the solutions are singular. By rescaling, we find some limit behavior for these singular solutions. In addition, for any integer k, we can construct a 5|k| dimensional family of C¹ solutions to the Kapustin-Witten equations on Euclidean space, again with singular imaginary parts. Moreover, we get solutions to the Kapustin-Witten equation with Nahm pole boundary condition over S³ × (0, +∞).

In Chapter 3, we develop a Kobayashi-Hitchin type correspondence for the extended Bogomolny equations on Σ× with Nahm pole singularity at Σ × {0} and the Hitchin component of the stable SL(2, ℝ) Higgs bundle; this verifies a conjecture of Gaiotto and Witten. We also develop a partial Kobayashi-Hitchin correspondence for solutions with a knot singularity in this program, corresponding to the non-Hitchin components in the moduli space of stable SL(2, ℝ) Higgs bundles. We also prove the existence and uniqueness of solutions with knot singularities on ℂ × ℝ⁺. This is joint a work with Rafe Mazzeo.

In Chapter 4, for a 3-manifold Y, we study the expansions of the Nahm pole solutions to the Kapustin-Witten equations over Y × (0, +∞). Let y be the coordinate of (0, +∞) and assume the solution convergence to a flat connection at y → ∞, we prove the sub-leading terms of the Nahm pole solution is C¹ to the boundary at y → 0 if and only if Y is an Einstein 3-manifold. For Y non-Einstein, the sub-leading terms of the Nahm pole solutions behave as y log y to the boundary. This is a joint work with Victor Mikhaylov.

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Okamoto, Akane. „Nicholai Kapustin's Eight Concert Etudes, Op. 40: Reflections on Analysis, Practice, and Performance“. Thesis, 2013. http://hdl.handle.net/1807/43683.

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Nicholai Kapustin (1937-), a Ukrainian composer whose music amalgamates the Western classical tradition with jazz idioms, is becoming increasingly acclaimed in recent years. His works are known for the physical challenge they impose upon the player due to their complexity that is often accompanied by fast tempi. No less formidable, however, is the challenge to discover the conceptual binding that is needed to capture the overarching sense of purpose within a given piece and communicate it in performance. One of the most effective approaches in performing Kapustin's music is to take advantage of the structure upon which his compositions are based, as it can allow a classically trained performer to utilize previously developed analytical skills. Although analytical study is an asset for virtually any type of music, the performance of Kapustin's music especially can benefit from analysis owing to its dense and active textures, rhythmic continuity, and varied repetition of relatively homogeneous melodic material. This research encourages regular involvement in analysis and internalizing the music away from the instrument. An analysis of Kapustin's Eight Concert Etudes, Op. 40 is provided along with the discussion of performance issues that are related to the analysis. These include solidifying the left hand (Etude No. 5), expressing characters through the varying rhythmic values of the melody and accents (Etude No. 6), and isolating various thematic components while simultaneously strengthening their inter-connections (Etudes Nos. 7 and 8). In addition, the research examines some of the psychological implications of analysis, exploring the ways in which analysis can help the performer to be attentive and engaged in the moment. Furthermore, in order to help one take pleasure from and fully benefit from analytical insights during practice, the research aims to cultivate a mindful mode of thinking where one steps away from constant action and becomes more curious and observant in the process of music-making. The conclusion addresses the physical aspect of playing, applying the notion of mindfulness to one's orientation to the instrument.

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Pereira, Tiago Sérgio Teixeira. „Kaput: graffiti em casas de banho públicas“. Dissertação, 2009. https://repositorio-aberto.up.pt/handle/10216/67599.

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Kaput é um projecto de investigação sobre um trabalho pessoal no campo do graffiti em casas de banho públicas, cujo principal objectivo é valorizá-lo enquanto forma de arte e um meio de comunicação. Pretende-se convidar as pessoas a participar, quer como autor, quer como leitor, e dignificar as obras e os artistas que as produzem. Posteriormente procura-se estudar a possibilidade de transformação do graffiti em casas de banho, evoluindo para outras forma de expressão como o design.

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Pereira, Tiago Sérgio Teixeira. „Kaput: graffiti em casas de banho públicas“. Master's thesis, 2009. https://repositorio-aberto.up.pt/handle/10216/67599.

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Kaput é um projecto de investigação sobre um trabalho pessoal no campo do graffiti em casas de banho públicas, cujo principal objectivo é valorizá-lo enquanto forma de arte e um meio de comunicação. Pretende-se convidar as pessoas a participar, quer como autor, quer como leitor, e dignificar as obras e os artistas que as produzem. Posteriormente procura-se estudar a possibilidade de transformação do graffiti em casas de banho, evoluindo para outras forma de expressão como o design.

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Kapustina, Anna [Verfasser]. „Degradation and defects in plasma facing components for future fusion devices / von Anna Kapustina“. 2004. http://d-nb.info/972291431/34.

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Hsiang-Hao, KUO, und 郭翔豪. „An Analysis and Interpretation of Nikolai Kapustin Eight Concert Etudes, Op. 40, Nos. 1-3“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/93956803004323419451.

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碩士
臺北市立教育大學
音樂學系碩士班
99
Abstract The essay focuses on interpreting and analyzing three little pieces Prelude, Reverie, and Toccatina. Those are from his piano work Eight concerto Etudes, Op.40 which composes by a Russian composer Nikolai Kapustin（1937-） in twenty century. A Russian composer, who, combines classical music with the jazz elements in the twenties. There are many materials, among his music, including rich harmony, varied rhythm, and jazz effects with symphonic style, also the complicated phrases, etc… Those ideas make a new way of Kapustin’s music, and also reflect his style which is delicate and creative. The music of Kapustin is multifaceted. He has composed many different types of music like piano concerto, symphony, chamber, and the instrument music. However, piano music is the major part of them. Eight concerto Etudes, Op.40 associates the classical form with jazz materials, irregular phrases and rhythm together. Besides, we could see the similarity of their name, which is given from him, between the pieces in Romantic and classical period. By analyzing and studying Eight concerto Etudes, Op.40, we will see the differences of his music from other composer. Furthermore, I will discuss the relation between his background and the characteristics of using jazz idea. It will include the harmony ideas, the way and style of composition, and how to perform it. Based on the study, we could precisely control the main bone and well-performed this piece.

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„Nikolai Kapustin’s Solo Piano Works 2007-2013: A Recording and Performance Guide“. Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49183.

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abstract: Born in 1937, the Ukrainian-Russian composer Nikolai Kapustin has gradually gained recognition among Western music scholars and pianists by blending American jazz idioms into classical forms, such as concertos, sonatas, and preludes; recently he has become a very prominent composer. As one of the most prolific composers of the twentieth and twenty-first centuries, he has composed over 160 works to date. Most of them are piano solo works. The uniqueness of his compositional philosophy is that he consistently treats the music language of jazz as a core element in all his output, while others might only use jazz idioms experimentally in their works. Being an excellent pianist himself, Kapustin has recorded many of his own works, giving a firsthand reference for interpreting his piano music. Some of his most famous works, including the Variations, Op. 41, the Eight Concert Etudes, Op. 40, and the 24 Preludes in Jazz Style, Op. 53 have been recorded by other prominent artists, such as Steven Osborne and Marc-Andre Hamelin. Scholarly research on Kapustin’s piano works remains limited. Most of it is found in journal articles and dissertations. Unfortunately, all of them are focused on his early popular works. His more recent works from 2007-2013: the Six Little Pieces, Op. 133, Dialogue, Op. 148, Etude Courte mais Transcendante pour piano, Op. 149, Nobody Is Perfect, Op. 151, A Pianist In Jeopardy, Op. 152, and Wandering, Op. 153, have not yet been discussed in any scholarly writing. In brief, the purpose of this study is to present a first recording of these six major solo works, and to examine them in a research paper. The paper discusses Kapustin’s consistent use of jazz elements in his recent works, addresses musical and technical concerns in their performance practice, and facilitates more extended study of these valuable but yet to be recorded works. The paper consists of eight parts. The first part covers brief background information on the composer, as well as reviewing important jazz features, in order to more effectively analyze his stylistic language in the six compositions which are explored in the subsequent chapters including a conclusion.
Dissertation/Thesis
SIX LITTLE PIECES, OP. 133, No. 1 Allegro Moderato
SIX LITTLE PIECES, OP. 133, No. 2 Comodo
SIX LITTLE PIECES, OP. 133, No. 3 Allegretto
SIX LITTLE PIECES, OP. 133, No. 4 Larghetto
SIX LITTLE PIECES, OP. 133, No. 5 Allegro Scherzando
SIX LITTLE PIECES, OP. 133, No. 6 Allegro non troppo
DIALOGUE FOR SOLO PIANO, OP. 148
ETUDE COURTE MAIS TRANSCENDANTE, OP. 149
NOBODY IS PERFECT, OP. 151
A PIANIST IN JEOPARDY, OP. 152
WANDERING, OP. 153
Doctoral Dissertation Music 2018

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Kapuskar, Nancy [Verfasser]. „Zur Embryogenese von Selaginella pilifera A. Braun mit einer Diskussion der Verzweigungsverhältnisse der Embryonen bei Selaginella / Nancy Kapuskar“. 2005. http://d-nb.info/976083795/34.

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PENG, YU-FANG, und 彭榆芳. „This Dissertation Focuses on The Work 8 Concert Etudes, Op. 40 By Nikolai Girshevich Kapustin (1937), With a Formal Analysis of Nos. 1, 3. 6 And 8“. Thesis, 2018. http://ndltd.ncl.edu.tw/handle/d4xvf9.

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碩士
東吳大學
音樂學系
106
This dissertation focuses on the work 8 Concert Etudes, Op. 40 by Nikolai Girshevich Kapustin (1937), with a formal analysis of Nos. 1, 3. 6 and 8. Included are suggestions for interpretation and solving technical challenges. This set of Etudes continues the baroque tradition of the keyboard suite as well as the Romantic tradition of the piano etude. Through jazz styles such as ragtime, stride, swing, bounce or funk, Kapustin weaves counterpoint to create stunning works of virtuosity that pianists love to perform and audiences love to hear.

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Neaama, Al-Badri Sawsan Kasim [Verfasser]. „Kollokationen im Deutschen und im Arabischen anhand der prototypischen Beispiele gut, stark, schwach, tot, kaputt : eine empirische kontrastive Studie / vorgelegt von Sawsan Kasim Neaama Al-Badri“. 2011. http://d-nb.info/1012586995/34.

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