Dissertations / Theses on the topic 'Kabalevsky'

This study investigates the intermediate and advanced piano repertoire of 20th Century Russian composer, Dmitry Borisovich Kabalevsky, with the main focus being on the artistic and pedagogical relevance of these works.Background details of the composer's life, as they pertain to these works and to his style of composition, were gathered through a review of the literature found in books, doctoral theses, encyclopedias, journal articles and programme notes accompanying compact disc recordings and editions of his music.A selection of Kabalevsky's intermediate and advanced piano compositions was chosen for an in-depth analysis of their artistic, technical and pedagogical aspects. A broad examination of their structure is also made. The works selected for analysis include Concerto No. 2 in G minor Op. 23, Numbers 1,2,3,4,6 and 24 from Twenty-Four Preludes Op. 38 and Sonata No. 2 in E flat major Op. 45. In order to gauge both the level of awareness and usage of Kabalevsky's piano repertoire, two written surveys were formulated and issued to teachers and performers within Australia. The first of these (Survey A) was distributed to private studio teachers, most of whom were teaching at an elementary and intermediate level, whilst the second one (Survey B) was sent to teachers who were likely to have had experience in teaching and/or performing more advanced works. In order to determine the frequency with which Kabalevksy's piano works are set for examinations, a review of various syllabuses, including the Australian Music Examination Board (AMEB), Trinity College of London and Austrlaina and New Zealand Cultural Arts Limited (ANZCA), was undertaken. These findings, together with the results of the surveys (which include comments made by a number of teachers/performers within Australia about a selection of these pieces) and the researcher's in-depth analyses, were all considered in ascertaining the usage and level of awareness of Kabalevsky's intermediate and advanced piano repertoire within Australia and the artistic and pedagogical contribution of these works. The in-depth analyses of a selection of Kabalevsky's intermediate and advanced piano works revealed that Kabalevsky made a worthy contribution to the piano literature of this standard, and that these works are also of considerable pedagogical value. The feedback from the surveys revealed that whilst most of the respondents had a high repect and regard for Kabalevsky's elementary piano compositions, the usage and familiarity with his intermediate and advanced works was significantly less. Many of the factors suggested for the lack of awareness of this repertoire were extraneous to the merits of the pieces themselves and, hence, it is hoped that a greater awareness of its existence and an appreciation of the artistic and pedagogical contribution of this literature, will bring it to the attention of students, teachers and performers alike.

This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children.<br>A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study.<br>Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study.<br>An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children.<br>Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972).<br>A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.

碩士<br>東吳大學<br>音樂學系<br>96<br>The 24 Piano Preludes was a Suite composed by Dmitry Kabalevsky dedicating to his honorable mentor Nikolai Myaskovsky. This thesis focuses on the analyzing and interpretation of The 24 Piano Preludes. Also, there are topics such as” the origin and development of music in Russia,” “the evolvement of Preludes” and “the composition background of The 24 Preludes.”

碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>100<br>This thesis consists of 5 chapters. The main purpose is to study 《Piano Sonata》 No. 3 in F major, Op. 46, which was composed by Russian composer Dmitri Kabalevsky after World War II. The first chapter is an introduction of the purposes, motivations, range, and methods of this research. Chapter 2 describes Kabalevsky’s life, musical composition style, piano works and composition techniques. Chapter 3 is the background of 《Piano Sonata》 No. 3 in F major, Op. 46, and analyses of the three movements. Chapter 4 is performance interpretation of 《Piano Sonata》 No. 3 in F major, Op. 46. Chapter 5 is the conclusion of Kabalevksy’s composition characteristics based on the aspects of forms, tonalities, harmonies, tempos, and arrangements of motivations. It is hoped that by way of having an in-depth understanding to the meaning of 《Piano Sonata》 No. 3 in F major, Op. 46, a closer interpretation of the concepts that the composer intended to convey could be applied while performing them.

碩士<br>國立臺南大學<br>音樂教育學系碩士班<br>94<br>Dmitri Borisovich Kabalevsky’s piano works have been widely performed in Taiwan. He is seen as one of the outstanding musicians in the 20th century, as well as a crucial figure in the development of music education. Among a variety of educational issues, he paid special attention to the music education of children and teenagers. The study aims to discuss the details in Kabalevsky’s music education philosophy and analyze his piano works specifically written for children. By music analysis and relevant statistics, the study examines the practice of his philosophy and the inter-connection for future reference in music education and piano learning. From the text-based data it is observed that Kabalevsky’s philosophy has four main points. First, he proposed the concept of “three whales”, which concerns music in three major categories: song, dance, and march. Second, composition for children should be considered from the aspects of composer, educator and academic scholar. Third, he proposed the nature of music as the base for music education, and fourth, he emphasized the importance of a full-scale study of music. The study observes Kabalevsky’s piano works from their background information, musical forms and performing techniques, and analyzes 89 selected children’s piano pieces, including Opus 27, 39, and 89. The result of the study shows that every single piece has its own title and implied style which inspires children’s imagination towards music. Besides, the length of music is often kept within 48 measures, which is short enough to maintain children’s attention during practicing and performing. The spreading range of fingers is set within sixth during the music, which suits children’s palm shape. Also, the music is mainly based on ternary form which provides a simple structure with motivated composing strategies of repetition and sequence. All the above shows that he successfully grasped the characteristics of beginner and intermediate piano learners and adopted the regularity and pure nature of music in composition which tends to attract children’s interests. Each of the selected pieces requires only one or two techniques, and even scales, arpeggio or stretches are set within three octaves. Besides, the length doesn’t exceed three measures, which makes it suitable for children under development. All the three opuses contain seven different ways of touch in total, which reveals Kabalevsky’s persistency in performing the nuance of piano music even when composing for children. By comparing Kabalevsky’s philosophy and the analysis results of his piano works for children, the study shows the following conclusions. 1.The “three whales” philosophy by Kabalevsky suggests exploring the music through the title and leading students to learn piano through the categories of song, dance music, and march, together with other similar type of music and style. 2.Kabalevsky’s piano works for children are suitable for the characteristics of children’s physical and mental development while taking into concerns of the systematical development of performing techniques and the art of nuance in music; thus, corresponds to his idea that composition for children should be considered from the aspects of composer, educator and academic scholar. 3.Kabalevsky’s piano works for children provides stable and unchanged signature during each piece. The music is mainly based on pure one-part form、binary form and ternary form with major composing strategies of repetition and sequence, which shows his belief of applying the regularity and pure nature of music to music education. 4.Kabalevsky adopted local and foreign ballads in composition for children in order to broaden the vision of music, which corresponds to his philosophy of learning music on a full scale.

The aim of this thesis is to explore life, works and pedagogical benefits of the Russian composer Dmitry Borisovich Kabalevsky. I would also like to focus on children's piano instructive literature by D. Kabalevsky because it is very appreciative recitative methodological material widely used at elementary schools of art. The thesis also includes a methodological analysis of instructive compositions, formal analysis of piano sonatas and concertos aesthetic analysis.

The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.<br>Masters Thesis

The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.<br>Masters Thesis

碩士<br>國立臺南大學<br>音樂學系碩士班<br>102<br>Dimitri Kabalvsky(1904-1987) was an important musician of the 20th century in Soviet Union. He devoted himself to the promotion of public music and music education. Due to the lack of piano teaching materials for youth and children, Kabalevsky composed a series of piano works suitable for them. His work “Five Easy Variations, Op.51,” completed in 1952, was one of his late piano works. It was brisk and interesting. In this Study, the 20th century environment of the Soviet Union, the variation characteristics, Kabalevsky’s learning background, and his music beliefs as well as the creative features of the piano works were firstly described. Secondly, the structures and the interpretation of the work “Five Easy Variations, Op.51” were discussed. “Five Easy Variations, Op.51” is composed for five pieces in variation form. The Russian folk materials are used in order to show the national style of Russian culture. The work is concise and variable. By using the repeated and small motives, colorful harmonies, varied syncopations and irregular accents, the themes are varied and developed. In addition, the work “Five Easy Variations, Op.51” is aimed to train the piano skills of children. There are several techniques which are used in each section. Therefore the playing skills are vital and needed for the work “Five Easy Variations, Op.51.” Through the discussion of the research, hopefully a more complete understanding of the “Five Easy Variations, Op.51” is offered and then enhance the playing skills and musicality as playing this work. Keywords：Dimitri Kabalvsky, “Five Easy Variations, Op.51”

碩士<br>臺北市立大學<br>音樂學系碩士在職專班<br>107<br>Abstract Dmitri Borisovich Kabalevsky (1904-1987) is a famous Russian composer and music educator in the 20th century. Among his works, a series of works written for children and adolescents are mostly well known. Dmitri Borisovich Kabalevsky’s “Children's Pieces for Piano, Op. 27” is characterized by that, every piece of music has a title, which can inspire children’s imagination space for music through its title and prompt style; the length of the music is moderate, mostly within 50 bars, to cooperate with children’s limited time of concentration, which is easy to practice and play; the structure of the music is simple, which is mainly composed of one and three segments; the writing technique of motivation adopts mostly repetition and sequence. In the music, the expansion of hands is controlled within an octave, and the range shift distance is within two octaves, which is suitable for children whose piano playing skills are still developing. The purpose of this study is to explore Dmitri Borisovich Kabalevsky’s life background, music works, and relevant literature materials of Dmitri Borisovich Kabalevsky’s “Children's Pieces for Piano, Op. 27” and to analyze the music content and discuss the teaching points of 25 pieces of music in the two volumes. This study adopts qualitative “content analysis method” with each piece as an analysis unit, uses “The Analysis Catalogue of Dmitri Borisovich Kabalevsky’s Children's Pieces for Piano, Op. 27” compiled by writer as the tool of research, and analyzes and discusses the basic structure of the music, the training of playing skills and the key points of teaching. The conclusions of this study are as follows: Dmitri Borisovich Kabalevsky’s “Children's Pieces for Piano, Op. 27” is a piano teaching book which combines many purposes. In the 25 pieces of works, the Kabalevsky’s teaching ideas can be observed from the titles, the arrangement of keys, meters, and the lengths of music, etc.Although this two volums written for children, but he hope students would not only pay attention to the technical nature of fingers, but also be able to convey the musical idea, the contrast of dynamic, and then realize the style of modern music from the change of tonality, rich harmony and the musical tension expressed by dissonent sounds. Finally, according to the results of this study, some suggestions will put forward on piano teaching, future academic research and content of Taiwan music publishing.

碩士<br>國立臺灣藝術大學<br>藝術與人文教育研究所<br>107<br>In the 20th century, the art of Russian piano playing ranked in the forefront of the world, forming the four major piano schools in Moscow with Russian characteristics. China and Taiwan also sent a lot of talented people to Russia to study piano. The unique Russian piano playing skills were brought back to our country, so that the piano playing technology could be spread in China. The achievements of the Russian piano performing arts are related to the effectiveness and teaching methods of the country in each stage of learning in music teaching. This thesis is focuses on the importance of Russian children's piano music works in piano teaching in the 20th century. This thesis first discusses the background of the social and cultural development of the Soviet Union after the victory of the October Revolution. During this time, piano music education has reached an unprecedented prosperity, and a large number of piano performing arts talents have been trained. The children’s piano music education has formed a set of perfect teaching system, has the unique teaching characteristic. This thesis takes Dmitry  Kabalevsky, the representative figure of Russian children's piano music creation, as the research object, and analyzes his representative children's piano music works: Children's Piano Collection op.27. This is Dmitry Kabalevsky's first collection of piano music for children, consisting of 30 titled pieces. The composer took into account the children's finger training requirements in the process of writing, as well as the children's small hands in the course of playing. From the point of view of children's physiology and psychology, the composer can improve the skill level and interest of children in the process of creation. His famous “the three whales” theory is also used in the composition of the children's piano pieces, combining the themes of dance in dance style, the song with singing style and the theme of march with marching style. Themes in this study demonstrates the special emblems of different styles of themes, and incorporate the feelings of life into the music, so as to increase the interest of this work and fondness for piano music. Finally, from the analysis of these works, this thesis consider into the inspiration and reference significance of Russian children’s piano music teaching to children’s piano music teaching. the basis of this research.

碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>104<br>Abstract This thesis is the research of Dmitri Kabalevsky’s <Sonata in B flat major> for Violoncello and Piano, Op. 71, which was composed for Mstislav Rostropovich in 1962. Kabalevsky is a great Russian composer, conductor and music educator in 20th century. He is well-known for his piano works. However, his string works are extraordinary as well. The author gets to know more about Kabalevsky by researching this work. There are 5 chapters in this thesis. The first chapter is an introduction, explaining the research motivation and purpose. Chapter 2 is an introduction of the development of modern Russian music, the life of composer Kabalevsky and cellist Rostropovich. Chapter 3 is the analysis, attempt to analyze the three movements of this work. Chapter 4 is performance practice. Chapter 5 is the conclusion and reflection of the work.

碩士<br>國立屏東教育大學<br>音樂學系碩士班<br>95<br>Russian piano art has astonished the world since 19th century. Either music performers or composers, they all highly receive the world’s attention and focus. Numerous people are enchanted by Russian’s unique ethnicity and music style. This research aims to explore in depth the piano works and educational ideals of contemporary Russian musical educationist, and hereby reveal the mysterious Russian music historical culture. By analyzing Kabalevsky’s children piano works, we can further get familiar with Russian music characteristics and education and gain a good command of this composer’s style of interpretation and implication. After analyzing three Kabalevsky piano works(“Thirty Children’s Pieces, Op. 39; Easy Variation, Op. 40; and Sonatina Op. 13), the following conclusions were made: (1) His work is integrated with “three whales” music educational ideals and diverse styles are created. (2) The structure of his work is simple, but he made an attempt on various forms. (3) Step-by-step playing skills take both old experiences and new skills learning into account. (4) Polished melody and the changes of the beat all present Russian ethnic styles. (5) Rhythms are distinct and obvious; various changes appear in the acoustics of harmony. Finally, according to research results, suggestions are provided for musical instrument playing, teaching and future studies, hoping to bring up references for Russian contemporary music pieces players and future researchers.

碩士<br>中國文化大學<br>音樂學系碩士班西洋音樂組<br>101<br>Abstract This research paper focuses on “Romeo and Juliet, Op. 75, No. 1, 2, 6, 7, 8” by Sergey Prokofiev (1891-1953) and “Piano Sonata in F Major, No. 3, Op. 46” by Dmitri Borisovich Kabalevsky (1904-1987) as research subject. The first chapter includes objective and methods. Interest in the 20th century Russian Musical Style fueled this paper’s production. Having said this, perhaps exploring the nuances between Sergey Prokofiev and Dmitri Borisovich Kabalevsky will lead to other realizations of the 20th century Russian Music. The extent of this research stems mainly from the songs of these two composers, with an analysis from the perspective of composer’s life background, compositional technique, and performance interpretation. The research method relies on collecting relevant literature and video documents on these two composers. The second chapter focuses on Prokofiev’s "Romeo and Juliet, Op 75, No. 1,2,6,7,8” including his brief biography, close study on the music and performance interpretation. The third chapter focuses on Kabalevsky’s “Piano Sonata No. 3 in F major, Op. 46”. Similar to the second chapter, this chapter focuses on the composer’s brief biography, music and performance interpretation. The fourth chapter compares and contrasts both composers’ musical style. Lastly, the fifth chapter brings the research to a conclusion by brining in contributions from other papers to come to a personal perspective and conclusion. Keywords: Russian music, Prokofiev, Romeo and Juliet, Kabalevsky, Piano Sonata